Those char-dotted edges look gorgeous.

I really wish I had an oven for this, I have one of those microwave-convection thingys, and it simply doesn’t get hot enough. It works for cast-iron pan-pizza, but not for this type of thing.

This has me wanting to try and use my fireplace somehow…

Extremely basic, just peeled and cut potatoes straight into a deep fryer. No soaking or anything.

Ten minutes at 150°C to turn em soft, then out of the oil, up the heat to 190°C, then back in until crispy. Usually barely a minute.

This has netted me the most consistently good results without too much prepping.

I should probably post next time I make cast iron pan-pizza.

It’s a napkin from Social Burger, in, yes, Finland. They make my favorite burgers, and though mine are really close, I haven’t found a ketchup that is as good as theirs. I might have to try making some.

I keep any that go unused when I eat their burgers, and use them later. Feels like an homage.

They got me into making burgers, as they stopped selling their Aioli burger, my favorite, which I then had to learn to make (and have since combined with their bacon burger).

The bun is Rosten’s burger brioche, I’ve yet to try making my own, as both these and the buns made by Fazer are really damn good. Most store-bought options were trash though, so much “brioche” with neither butter nor egg.

Haha! Those are the warning lights on my cooktop indicating it’s recently used and still hot.

Is that what you think I was trying to do?

Does it need to be more than a vague term, if it, when entered into google or youtube, results in the exact thing I was talking about? Music, made using a “tracker”.

Scene music or chiptune, meanwhile, both lead to far less specific results. Same for DAW.

As for retro computer music as a genre, I never claimed it should ALL be called “tracker music”, you’re the one who went “which necessitates a tracker”.

I’m perfectly happy with chiptune as a word for any and all retro music. Tracker music can be called chiptune, but not all chiptune, is tracker music.

If you had a MIDI sound-card, sure.

Of course you can use samples to play the notes in a MIDI, MIDI is just a digital standard for storing a sequence of notes. You can do whatever you want with those.

But now you’re grasping at straws, trackers didn’t use MIDI, and unlike MIDI, shipped the samples with the tracks, so they’d sound the same wherever they were played.

That there’s a superficial similarity is inconsequential, and that you’d bring it up at all, just further crushes your previous claims that trackers were related to earlier 8-bit synth-based music.

You’re telling me shit I already know and trying to twist the facts

I’m sorry, but if you already know all this, why can’t you make sense? You’re again coming in with a new claim that falls apart the second I add context:

MIDI is a digital standard for musical notation, one which trackers DID NOT USE. Lots of trackers use their own formats which can’t even be opened by other trackers, let alone any MIDI compliant software. Not to mention that MIDI files don’t come with samples, while tracker modules had to in order to reproduce a track correctly.

Trackers are as related to MIDI as they are to dots scribbled onto five lines on a piece of paper. All music can be represented using MIDI, because MIDI is just notes. That doesn’t mean all digital music uses MIDI. Especially when MIDI doesn’t store actual sound data.

Trackers, and I apparently have to say this again, USED SAMPLES. As in, NOT SYNTHS (like the NES). They played back recorded audio data from actual sound files according to a pattern input by the composer. Which yes, you could argue is equivalent to MIDI. But the samples are not, and they are a fundamental part of how trackers work. In order to even get started with using a tracker to create NES/SNES style music, you’d have to configure it with a sample-bank that contains the noises they would make.

Perhaps you are confused because MIDI sound cards did something similar. They used MIDI data to play music using the preset sample-banks that different MIDI cards came with, meaning the track would sound different depending on what sound card was used.

Tracker modules meanwhile came with their own samples, meaning they always played the same. Composers could also use whatever audio files they wanted to create their sample-banks.

“Those old games” also most certainly did not use MIDI, they either had their music produced using direct hardware instruction or whatever tools the game developers created for themselves.

But we’re getting off track. You’ve kept making new claims about trackers, what they are related to, the terminology around them, and what they are for, each of which has been subtly off.

To recap:

Tracker music is tracker music. The word “chiptune” can either refer to a sub-genre within tracker music, or “retro” music in general, which includes lots of other music aside from tracker music. However, it cannot be used to refer to tracker music and only tracker music. Those two terms are not interchangeable. That doesn’t change because “it’s much later now m8”.

Trackers were also not created to “replicate” or “reproduce” anything, they can, but they can also do more. They were developed specifically to take advantage of the new 16-bit sound card introduced in the Amiga, and worked by playing back recorded audio samples, while older computer music was produced by instructing synthesizers to bleep and bloop.

They were before my time. I only learned about them because of Ahoy. I’ve been on the lookout for music made with them since.

Trackers were created to take advantage of the new and unique audio hardware available in the Amiga.

Trackers use sample-banks, while both the NES and SNES heavily relied on voice chips.

The NES only had 5 voice channels, and they were each stuck with their initial synth-type, and while SNES could reproduce samples, they were used sparingly due to the space audio samples would take up on the cartridge.

Trackers could create music using actual audio samples. While the samples couldn’t be long or high quality due to RAM and CPU constraints, the way they functioned from the audio systems of the NES and SNES is fundamentally different, and more capable.

While it is possible to re-create the style of music produced by the NES and SNES with a tracker, that’s hardly what they were developed for. Trackers had far fewer technical limitations and could do so much more.

That “lmao” is really doing some heavy lifting for your credibility there…

Which definition are you even using when saying that a tracker is necessary? In the age of trackers “chiptune” referred to a music style from before trackers. If chiptunes existed before trackers, then someone obviously made that music without one.

To consider same sound produced with newer tools “cheating” or “fake” is an stupid distinction. Would not using trackers to create chiptunes then be cheating, too, since chiptune referred to tracker music that was emulating the even older style of 8-bit computer music? (Since again, trackers are a 16-bit era thing)

I’m starting to think you don’t even know what a tracker is, because while trackers could be used to make other styles of music from their time, plenty of retro games used other ways to produce music, such as MIDI sound cards or direct instruction of synth voice chips. All of which would be called “chiptunes” by most people today, not just trackers.

And?

This whole discussion is within the context of trackers specifically, not the mainstream definition of “chiptune” which can refer to any music, made using whatever, that have some bleeps and bloops mixed in.

The mainstream definition also includes music that isn’t tracker music, which isn’t what we’re talking about, and hence, it’s not the right term to be using.

Bringing up the word in its general meaning within a discussion about tracker music, is even more confusing and unhelpful, because in the context of trackers, the word chiptune refers to a specific type of tracker music.

No. Tracker music is 16-bit, within tracker music the term chiptune refers to a specific sub-genre which emulates 8-bit music.

Only much later did “chiptune” become a catch-all for all old computer music, and in that context it can refer to music not made with a tracker.

Thank you, another for the “actually good tracks” playlist.

It’s called “tracker music”. A “tracker” is a type of music composing software that dates back to the very dawn of digital music.

Ahoy has a fantastic video about how they work and their history.

Has the possibility of renting a camping-suitable car for that couple-of-times-a-year-event while driving something less wasteful for an everyday commute, crossed your mind?

Or is paying for the additional fuel and taxes year-round on a bigger car genuinely cheaper?

If it is, I’d point out that the whole point of a tariff like this, is to change that.

He’s right. No bias, I swear.

Except if they did enable Fortnite on Deck… As the game is not on steam, people who want to play it would be encouraged to install the epic store on their Decks (which IS possible, and already something people do to play other games from the Epic store on Deck), which would give Epic an in on SteamDeck.

Enabling EACs proton support for Fortnite would be a means to get their foot in the door with Deck players, but you’re saying they wont do it because they don’t have a foot in with Deck players?

Doing good with one hand doesn’t excuse using the other to smother FOSS progress. No matter how humble you are materially, or reasonable in local policy, that doesn’t mean he is right in the many bullshit stances he’s dug himself into where the games industry is concerned. He does have a point in some places, but holy shit is it hard to take him seriously when half the shit he gripes about other companies doing, Epic does too. And that’s before we talk about the scummy BS only Epic does.

Asus EEE Pad Transformer TF101

That whole line of products was before it’s time, I really wanted one of the phone/tablet combos, but man were they expensive.