Category Archives: translation

Interview with Vince Kaichan

* This article is written in both English and Japanese.
* インタヴューの日本語訳は下部にスクロールしてご覧下さい。

I proudly present a long interview with Vince Kaichan, an electronic musician from California, United States.
He has energetically released a lot of songs with exploring several different platforms since he got a Gameboy and LSDJ in 2010 even though he says he is not a energetic person.

Home computers had come to obtain high performance enough to handle modern DAWs and MP3 had become more and more popular, and then some of tracker musicians once stopped to use trackers or share their module files on on-online. But he went to a invert path compared to that.

Today he lives in the world where a combination of a Gameboy and LSDJ, one of standard approaches to chipmusic, is not novel at all and has been creating his own way with a great amount of legacies of it. It’s a time of mutation…

Note: this interview was heavily motivated by the conversation with Vince during his stay in Japan.

アメリカ・カリフォルニア州のエレクトロニック・ミュージシャン、Vince Kaichanのロング・インタヴューをお届けます。




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Vince Kaichan

Vince Kaichan’s Official Site


Interview with Vince Kaichan (2015)

SID Media Lab (SML): First of all, please introduce yourself.

Vince Kaichan (VK): Hi, I’m Vincent Chang, aka Vince Kaichan (formerly known as VCMG). I like old, obsolete things and have been making various kinds of music with those old, obsolete things since around 2010. Continue reading


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Anti-Memoirs: An Experience of Chipmusic in Japan

* This article is written in both English and Japanese. It was initially written for and published on Scene World Issue 24. The original title was ‘For Keeping on Reopening SID Music’. I described the aims of the essay in the post.

* 本文は元々、コモドール64のディスクマガジン『Scene World Magazine』第24号のために書きおろされたものです。発表時のタイトル「For Keeping on Reopening SID Music」を改めてここに再録します。執筆の趣旨等はこちらを参照してください。

チップミュージックの研究者とは、はたしてひとつの職業なのだろうか。しかるべき教育を受けておらず、ライターのようなジャーナリストですらない者にとっては、自称するしかない職業、綱渡りで遂行されるひとつの任務だ。Near Future Laboratoryに属するスイスの研究者Nicolas Novaは、著書『8-Bit Reggae』のなかで私をチップミュージック・アーキヴィストと呼んだがこれが今のところ、私にとって唯一の「他称」である。私はむしろひとりの歴史家でありたいと思っている。ひとはいかにして歴史家になるのだろうか。一般化できない問いだ。私にとって、チップミュージックは発見されるべき主題でも対象でもなく、絶えることなく再開される行為であり、動詞である。歴史家の役目とは、未来のために収蔵すべき過去の事物を選定することではなく、現在にその身体をもって律動を刻み続けることで、忘却を巻き込むことではないだろうか。したがって、今から素描するのは、私の身に、私の身体で起こってきたことである。 Continue reading

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Global Klystrack Domination

Summary: I release the Japanese translation of klystrack tutorials written by n00bstar. Klystrack was created by kometbomb, which is the hyper hybrid and eclectic chipmusic tracker for Win/OSX/Linux. Contrary to the appearance, it is not an alternative to AHX, a SID-based chipmusic tracker for Amiga. Rather, it highly sublimates the latter’s original concept, or a synthesis-based music tool inspired by the other vintage machine and sound chip (i.e. Commodore 64 and SID 6581). Klystrack does not refer to one precedent 8-bit machine or sound chip, but implement characteristic features from plural ones (e.g. C64, Amiga, NES, SNES, Atari 8-bit,  and Atari ST) and sound chips (e.g. SID, Paula, POKEY/TIA, YM2149, and OPL2/3). Furthermore, the tool has its wavetable for combining a wave sample with waveforms from oscillators. So it has an ability to make instruments flexibly like MT-32. This tutorials are worthy reading because the author n00bstar, a virtuoso of klystrack, carefully writes each section and option in a humorous manner, as well as deals general-purpose techniques, which are much useful for making music on whatever you select. As kometbomb said, let global klystrack domination begin, and then rock ‘n’ roll the authenticity of chipmusic!


n00bstar – klystrack tutorials 日本語訳
Download from OneDrive or Google Drive


Writing: James Clark
Translation: Takashi Kawano
Thanks to: iLKke (Ilija Melentijevic), kometbomb (Tero Lindeman), maak, and n00bstar (James Clark)

klytrackをダウンロードする際は、プロジェクト・ページから最新ヴァージョン(2015年2月20日の時点で、1.6.0 r1309)を入手してください。


klystrack wiki 日本語翻訳

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LittleGPTracker – Quick Start Guide and Reference Manual

Summary: Released Japanese translation of Quick Start Guide and Reference Manual on LittleGPTracker, which is a music tool programmed by Marc Nostromo aka M-.-n. Also published HEXAWE Composers List mainly for persons who are not familiar with this tool and music using it.

M-.-nことMarc Nostromoがプログラムした、piggy trackerの名で長く親しまれている音楽制作ツール、LittleGPTracker(LGPTと略す)の「クイック・スタート・ガイド」(チュートリアルに相当する)と、「リファレンス・マニュアル」を専用Wikiより訳出しました。原文と同じく、この翻訳はクリエイティブ・コモンズ・ライセンス3.0(表示 – 非営利 – 継承 非移植)に帰属します。同時にLGPTを使用してきた主要なミュージシャンを網羅したList of HEXAWE Comporsersを公開します。

Quick Start Guide: Original text (wiki) / 日本語訳 (pdf)

Reference Manual: Original text (wiki) / 日本語訳 (pdf)

List of HEXAWE Composers (xls)

I recommend reading this excel sheet after downloading it as the preview of Google Drive is not accurate.

Thanks to: Peter Swimm

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Back to Commodore Japan

Note: this post is the English translation of the previous release in Japanese.
* 二年前に公開した記事の英訳になります。翻訳にあたり、若干の加筆訂正を行いました。原文はこちらで読むことができます。


In October, 2012, I got a chance to hear from two ex-members of Commodore Japan, Mr. Ieda who had taken charge of working of manuals and Mr. N [alias] who had taken charge of designing machines, due to amazing coincidence. Both still remember the time that Commodore Japan, Japanese arm of Commodore International, was developing and manufacturing Commodore 64 and its successors. Firstly, when hearing they had been around 30 years old at that time of entering the company, I heaved a heavy sigh of wonderment.

This article is a reconstruction of the story I heard from the two at that time, referring to Brian Bagnall’s Commodore: A Company on the Edge published in 2010 with thinking back on the night. The voluminous book traces the history of Commodore company from the foundation to the year 1984. Though the author is young person born in 1972, he made the original of the book titled On the Edge: the Spectacular Rise and Fall of Commodore public, as early as 2005 and then have led the study on Commodore. I also mention that another book titled Programming Lego Mindstorms with Java by Bagnall is translated into Japanese from CQ Publishing.

In addition to this, I consulted the mail interview with Miachael Tomczyk called “What was Japan for Commodore?,” which had been conducted by hally and published at VORC in 2003, both prior to and after the talk. Tomczyk was an assistant to Jack Tramiel at Commodore International.

I am a late Commodore newbie who found out about it via the music which the machine has played and the SID chip in it, but nevertheless, Mr. Ieda and Mr. N responded to my precarious words in a courteous way the whole time. I just acknowledge Messrs. Ieda and N for their great favor and tolerance.

I hope this article becomes a contribution of a record on “Commodore in Japan.”

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