8bit – NewRetroWave – Stay Retro! | Live The 80's Dream!

M83 Team Up With Microsoft to Make Something……..Very Familiar!

NewRetroWave — Mon, 13 Feb 2017 13:16:38 +0000

Does this look familiar guys? Retrowave continues to spread it’s influence. This time M83 and Microsoft give a suprising nod towards the movement.

Watch below to witness

Thoughts…

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Jamatar – Spacesounds

Joey Edsall — Thu, 30 Jun 2016 18:22:24 +0000

You will know within the first 20 seconds of “Gravity”, the opening track of Jamatar’s Spacesounds is an EP that you will love or skip. It straddles the line between being a heavily chiptune-influenced synthwave album and a heavily synthwave influenced chiptune album. Chiptunes aren’t for everybody, and people can sometimes write off any aspect of that genre quickly. That’s a shame though, because there isn’t a second on Spacesounds that isn’t fresh and infectious.

The debut EP by the Australian artist is at it’s most impressive when it is using the same Gameboy source to create interesting textures and layer them. “Gravity” does this masterfully, mixing warmer, rounder tones with the more brittle, distinctive video game sounds we are all accustomed to. “Singularity” follows by doing much the same. While filled with layered melodies, the song is more subdued and chilled out. It is more house-oriented than the other tracks, but the wash of nostalgic sounds manages to keep it from sounding overly repetitive.

“Dead Space” sees Jamatar channeling darker atmospheres that wouldn’t be out of place in an old Metroid game, but with Final Fantasy sounding melodies, if that makes sense. It is an overtly chiptune song, without as much of the synthwave influence. The next song, “Asasamu” is a highpoint of the EP and brings back the retro-synthwave feel with full force, blending it with a little bit of that the house music vibe of “Singularity”. It is ultimately a track showcasing most of Jamatar’s strengths as an artist.

“Space Sounds” and “Unity” close out the EP, making it one of the few releases that is bottom heavy, as opposed to top heavy. Many artists put their best songs in the beginning of releases, but the three longest, and by far strongest Jamatar tracks occupy the back half of the EP. If you are on the fence about it, start from “Asasamu” and work your way to the end from there. It’ll be interesting to see if Jamatar continues along the path of synthwave composition in a largely chiptune format, or if we blends more into that distinct Gameboy-generated sound. “Unity” implies that it could be more of the latter, and that makes me really excited for this artist’s future releases.

Spacesounds by J▲M▲T▲R

COMMUNITY RATINGS

Retro Gaming – Mega Man

Joey Edsall — Mon, 01 Dec 2014 16:00:00 +0000

Old games used to get overly serious and realistic art.

Arcade games and console games are fundamentally different
in a lot of ways. While the hardware, game mechanics, and depth of narrative
might be the most obvious, there is something at the core of the two that keeps
them separated. Before going in depth with my retrospective review on Mega Man (1987), I’d like to
first analyze the intention behind the design of an arcade game and a console
game.

We’ve written about arcades before. The period from
the late 70’s to the mid-80’s is known as the Golden Age of Arcade Video Games. As the popularity of arcade games decreased by the end of the decade,
console games were experiencing a boom thanks in part to the Nintendo
Entertainment System. Because of this shift, many old NES games feel more like
arcade games. The fundamental purpose of
a console game is to provide you with satisfaction to justify your purchase of
the game. Games are usually not very cheap, so designers try to make their
product the most worthwhile for your money (ideally, at least). Arcade games,
on the other hand, are all about taking your money in small sums (quarters),
giving you a brief, enjoyable, and difficult experience, and then encouraging
you to play again to go further and get a higher score.

Mega Man feels
like an arcade game. It is so hard that it feels punishing at times and so
addictive that you can’t stop coming back to it. The amount of trial and error
inherent in the classic platformer makes the experience feel like learning a
song. Through your failures and deaths you wind up developing something
resembling a rhythm. You know which
screen is coming next or which flying penguin is going to dive on you. I wasn’t
able to beat any levels on the first try, but on the attempt where I did beat them, it looked like I was an
absolute professional.

Though the level design was difficult at times, there were
several gems hidden throughout. As an avid player of the Mega Man X series, I knew that each boss gives you a new weapon to
your arsenal. And I also knew that each boss weapon was super effective against
another boss. They usually make sense, barring a few mix-ups (Ice > Fire? I
guess that means… thunder on the ice guy? Okay.) For example, Elecman’s
weakness is the weapon you receive from the truly epic Custman (my only
reasoning is that scissors cut wires?). Elecman’s level is full of these small
platforms with enemies on top that make avoiding them difficult. If you switch
over to the Rolling Cutter weapon, you’ll notice that the odd trajectory of the
attack fits the level design perfectly. The level becomes much easier if you
use the Cutsman’s weapon to get through it. Ideally, by the time you reach the
end of the level you will be pretty comfortable with using it.

I stand by what I said about completing each level being
similar to learning a song. That said, Iceman’s level is like learning a song
and then being expected to flawlessly improvise with someone else who is also
improvising. Everything is typical Mega Man gameplay, and then this happens…

Those platforms shoot sideways. Okay, okay, annoying, but
whatever it’s a challenge. Oh, but they also move in a completely random and
erratic pattern. Well that just doesn’t sound fair. Oh, and one more thing,
we’re going to throw some robot penguins at you for the last half of this part
of the level. But wait, that might be too difficult. Let’s make sure the player
has a platform to rest on halfway through. Good point, but we shouldn’t make it
too easy for them. This is a video
game after all, this is serious business, not Soviet Russia Handout Land. Let’s
cover that platform in ice. Video game
ice. Which science has proven is twice as slippery as regular old boring ice.

Seriously.

The other issue I have with this game is about rationing out
lives. There is a checkpoint immediately before each end of the level boss
fight. Should you die in the boss fight, you will respawn there with full
health and one less life. The game is so difficult that many times I would reach
the boss, look to see if I had an extra life lying around, and just let the
boss kill me so I could tackle him with full health. That is just poor design.
Also, your health replenishes with each respawn, but your ammo does not. This
means a particular difficult stretch of a level will become progressively more
difficult. The general difficulty of this game is also distributed oddly. It is
very difficult in the beginning when you don’t have any special boss weapons,
and especially difficult in the end (cough, Boss Rush). The middle portion of the game
is by far the easiest. This uneven difficulty may be annoying for some players.

You can tell the designers were on to something when you
play Mega Man. It has vibrant colors,
an excellent soundtrack, and surprisingly rich and deep gameplay, with little
secrets here and there. The game is pretty easy to find. I played the PS2 port
from the Anniversary Collection, but you can also find it on the virtual
console. Though Mega Man 2 is widely
considered better than this game, this is the game that has lent its design to
Mega Man’s character in the new Smash
Bros., as well as the fact that one of the bosses from this game appears in
the new Smash Bros.

Final Thoughts:

Favorite Song: Elecman Stage

Favorite Boss: Cutsman, I actually have a shirt with him on
it!

Favorite Weapon: Magnet Beam, of course.

Fun Facts: It’s Mega
Man, not Megaman. I’ve been
making that mistake for over a decade.

– Joey Edsall

(@JoeyEdsall)

NewRetroGaming Interview – Crossing Souls Promises Nostalgia

Joey Edsall — Thu, 27 Nov 2014 14:51:00 +0000

Crossing Souls is an independent and retro-inspired video game currently looking for funding on Kickstarter. You can check out the trailer for the game on the Kickstarter page or on YouTube. Does the song in the trailer sound familiar? Yep, that’s Timecop1983! He is going to be contributing the soundtrack to the game. I had the chance to interview the Crossing Souls team.

We should probably start with the most basic question. What is Crossing Souls: An Adventure Between Life and Death?

Crossing Souls is an Action Adventure with an orthogonal 2D view with an 80s looking style, slightly similar to classics like The Legend of Zelda or the most recent indie game Hyper Light Drifter.

We’ll be able to control five different characters, each one has different abilities and weapons, which will have to be mixed in order to overcome all the challenges that are waiting for them: exploration, hundreds of NPC from different epochs, solving puzzles, looking for treasures and fighting against enemies.

The game will have plenty of references to films, TV shows and video games that marked an epoch in our childhood. We will look for an emotive touch that make the player remember those titles. Because it’s mainly based in the 80s, the “easter-eggs” will be related with audiovisual content of the decade, but we will also find references to more recent pieces.

How did the Crossing Souls team come together?

We were three friends who wanted to make something different. There are not too many jobs in Spain right now so we talked about starting up our own company. That was more than two years ago and since then, we have completed all kinds of jobs like websites, mobile apps and games but a year ago we decided we just wanted to make games so… here we are!

Which old-school video games served as inspiration for Crossing Souls?

Our main inspiration are Zelda games, mostly A Link to the Past and Ocarina of Time. We LOVE that games and we would like to make an adventure similar to them.

We also are taking some inspiration from a French game that we love, a classic gem that unfortunately, many people don’t know: Little Big Adventure 2. If you haven’t played it yet, you’ll find it on GOG so run and buy it!!

Which modern video games inspired Crossing Souls?

We love indie games and they were the reason why we are making games, so we should say: Superbrothers: Sword & Sworcery (although we love every game that come from Capy Games 😀 ), Paradise Lost: First Contact, Gods Will Be Watching and Hyper Light Drifter!!

We love Timecop1983. How did teaming up with him come about?

Hahah we love him too!! We think it just was our destiny! We love synthpop music and we listen to a lot of Soundcloud playlists while we’re working. One day, “Childhood Memories” came up and we fell in love with it.

Instantly, we sent him an email asking him to collaborate with us as we need some tracks in our Kickstarter video. He agreed and made “Mercury” which is one of the awesome tracks we use in our video. We knew people would love his music so we asked him to create the entire OST of the game. We’re really lucky for having him with us. Crossing Souls wouldn’t be the same without his wonderful music!

What step in designing a video game would you say is the most difficult?

As a good and rich plot is one of the most important steps for us while designing a video game, we believe that the process of looking for a set of fun mechanics and fit them with the plot in order to create what we call a “game” can be the most difficult and frustrating part of all.

Related tasks with development itself like pixelating, animating or programming can be a little tough sometimes but we really love that part as we’re creating what we really want 🙂

What aspects of gameplay are you most excited for players to experience?

The use of the DUAT stone of course! This is a mysterious stone that players will find earlier in the game and will be able to connect to the death plane and the thousands of souls that exist there, awaiting their trial to be able to finally rest in peace.

You will have to use it wisely to collect clues or solve some puzzles. Thanks to it, you will be able to interact with NPC from different times who can help you in your adventure. The character holding the Duat Stone will be the one we’ll be controlling in the dead zone and it’s the only one who can see the ghosts.

Besides, we really like the idea of controlling five different characters because it makes the game varied and players will have to mix the group abilities with the DUAT stone to overcome all the obstacles they will find along the adventure.

As the medium of video games matures, narrative becomes a focus as much as mechanics. How did the narrative of Crossing Souls come about?

The idea of Crossing Souls is born from the desperation of working in what you can, not in the things you want and it’s, undoubtedly, one of the best creative moments we ever had as indies. We sat down and thought what plot fascinated us more. Decide which gender it was going to be, the story and the background of your first game’s style is not an easy task. So it was time to look inside us, see what our concerns were and our strongest influences and pulling the thread out.

We basically found out that we missed being kids. In a moment that you’re planning your near future and your possible adult life you always look behind you and you remember what you were and you realize how things change over time. We missed those kind of adventures you used to see in films, where everything was possible and where any kid could become a hero living an unique adventure without stepping out from his town.

We think that epicness is somehow lost. We live more stressed and we don’t enjoy that “magic” anymore, as we call it. In current films more of the same happens. How many people think that Prometheus is not like Alien or that Super8 is far from the magic that E.T. or The Goonies had?

Is there any inspiration for Crossing Souls that isn’t a video game, such as films or music?

The game is very influenced by our entire childhood so we take inspiration from a lot of sources. Movies like E.T., The Goonies, Stand By Me, or Explorers are very important for us and we have very lovely memories from them so you can expect finding a lot of “easter eggs” in the game coming from them 🙂

We also want the players to remember their childhood while they are playing so we have included some cut scenes which are based on the 80s cartoon shows like TMNT, He-Man, Dungeons & Dragons, or Visionaries. We hope people enjoy watching them!

Gaming, and in particular indie gaming, has seemed to draw heavily from the 8-bit and 16-bit eras over the last five years. Why do you think that is?

Well, we believe that many people still miss the old classic video games. Those pixels had a special charm thats why many indie developers opt for that style. But it is also true that working with pixel is easier and simplifies the development of the game so it’s good for small studios that have few resources. You know, if you decide to make a 3D game you will need to know modeling, rigging, animation, illumination, etc… so the development will take ages! (or it would be really expensive)

If somebody was on the fence about contributing to the Crossing Souls Kickstarter, what would you tell them to convince them to support you?

Do you remember what you felt when you saw Michael J. Fox turning into the coolest werewolf ever? Or when Gary and Wyatt created the perfect woman with parts of a scanned magazine? When Elliot and his band of friends took off with their bikes? Or when you saw a DeLorean with a flux capacitor could travel in time? That was PURE MAGIC. The way the stories were told made you believe in them and you could step into the shoes of any character in a special manner.

With Crossing Souls the team wants to revive those childhood feelings. Those adventures that could happen to anyone. We want to develop a funny and profound game, with a great plot that can make the player remember those times with a bit of nostalgia: more than one has used a towel as a cape, a broomstick as a sword or have had a hidden cabin.

Help us to make this dream come true and we can make sure that you won’t regret it. You will live a great adventure filled with nostalgia that you will remember all your life!

You can support the release of Crossing Souls by contributing to the Kickstarter campaign.

– Joey Edsall

(@JoeyEdsall)

Retro Gaming – Final Fantasy

Joey Edsall — Wed, 29 Oct 2014 22:30:00 +0000

I was seven years old when I was
first exposed to the world (metaworld?) of Final Fantasy. It was
a few days after Christmas of 1999 and my cousin had received Final Fantasy
VIII as a gift. Being seven in the presence of a teenager meant I had no right
to take a turn in his game, and it wasn’t even a game where you could take
turns. So I sat back and just enjoyed the cinematic experience of the game.
That moment had a profound impact on me and is what truly led me to identify as a
video game enthusiast for the better part of my formative years. The sheer
narrative scope of RPGs astounded me.

We here at NRW review music and films, and so I wanted to kick off a series
of video game reviews with a game whose name has grown to
weigh more than any contribution to the series. Final Fantasy received its name because it was believed that it
would be the last game Square would be able to release before declaring
bankruptcy. It was their “Final Fantasy”. Little did they know it would be a massive
success and create a massive series of unconnected but thematically similar
games and eventually give us this
masterpiece.

But Final Fantasy wasn’t always a
blend of science fiction and fantasy. The first installment of the series was
purely a fantasy JRPG. I played the PS1 port of the original NES game because
it is most faithful to the original. The first thing that comes to mind when I
think Final Fantasy is how
unrelentingly difficult it is. I’m not saying that later Final Fantasy games were
particularly easy, but none of the games I played (FFVII, FFVIII, FFIX, FFX,
FFX-2, Tactics, Tactics Advance, and Tactics A-2) feel so punishing as this original tale.

Before I move on to the actual
gameplay, I’d like to share with you the thoughts that went through my mind for the first hour of playtime:

“Gee, that Prelude song sure is
pretty sounding.”

“I get to name all four of them,
and they have nothing pre-established? Onward Fart and friends!”

“Nah, I don’t think I’ll need a
white mage.”

“This is a lot like tactics, but
with a worse story and battle mechanic.”

“I spy with my little eye a
damsel in distress (cough, Sarah, cough)”

“To quote the King, “If you bring
my daughter back safely, I will build a new bridge. I am counting on you.” Is
that the going rate of missing daughters these days?”

“Buying spells? What black magic
is this?!?! (see what I did there?)”

“Level grinding? Again?”

“Jesus, everything costs money.”

“First boss? That was a joke.”

“Thanks for the lute, princess.
This looks ambiguously useful for the future.”

The early portion of the game will
have you staying close to the nearest town and going back in after every couple
of battles to heal up at an inn or buy some more potions. Everything costs
money in this game, from full saving to learning magic. Random encounters can
be simple, like running into one horse (not a magical horse, it is literally
just a horse) or they can be as grueling as an eight
enemy encounter. It’s really difficult to figure out where is safe to walk and
where is not. From a design standpoint, this is a cost that was probably hard
to avoid.

The game is huge. The overworld rivals the scope of A Link to the Past (fellow Nintendo fanpeople, I’ve got a treat for
you at the end of the article). It only becomes more massive when you get the
boat and find yourself surrounded by water as far as you can see. It is nowhere near as linear as the series has become. To be fair,
the game becomes more manageable once you get your party to around level 20,
especially if you grind enough to do this early. The boss battles are never
particularly difficult. I’d say that moving through each dungeon and dealing
with the random encounters and noticeable LACK OF SAVE AND HEAL POINTS is much
tougher than the actual bosses.

You control four characters with no
exposition apart from some vague talk of a prophecy. They’re pretty vacant as
far as personality is concerned. Don’t expect any dialogue. You are allowed to
choose their jobs, which is an exciting amount of customization afforded
considering how old the game is. I chose a Warrior, Red Mage, Thief, and Black
Belt. I named the Black Belt Cid to ensure that I wouldn’t play a Final Fantasy
game without a Cid in it. These empty vessels don’t have much plot to work
with. Apart from an interesting / convoluted / nonsensical time travel related
twist, the story is really a “go fetch this for me” excuse.

The pixilated graphics of the game
are actually quite beautiful. This is primarily due to the vivid colors and all
around bright atmosphere. The world of the game feels hopeful, and the art
accompanies it perfectly. I’ve always said that old video game scores were so
memorable because of the limitations of the system. The original composers
could only have three sounds playing at once. This led to a greater focus on
melody. There is a reason a lot of these songs are so instantly recognizable. I
mean, just listen to “Prelude”. It’s downright moving.

I hope I don’t sound like I’m
badmouthing what has become one of the most influential games of its
generation. Once you get some experience under your belt (metaphorically and
literally, grind grind grind), the game becomes enjoyable, and actually highly
addictive. I found myself happy to be level grinding and saving up for new
swords or spells. The scenery is interesting enough that I found myself wanting
to genuinely explore for personal enjoyment. Talking to every NPC and
interacting with everything I could even led me to discovering a pretty
interesting Easter egg, especially considering how much of a Zelda fan I am.

If you are a fan of this series and
like the idea of game history or analyzing the medium as a whole, I definitely
recommend finding a way to play this game. You can enjoy it for what it is. The
NES and PS1 versions are, according to my research, notably more difficult than
subsequent ports. I loved playing this game, and wish I could have been alive
at the time of the game’s release and had that feeling like I was playing
something that would be huge. I’d love to continue the discussion on this. I’m
curious if any NRW readers/listeners played the game at the time of release.
What was that experience like? Did you enjoy it? And if you are like me and
played the game years after the fact, how did you like it? What party did you
complete it with?

– Joey Edsall

THIS WEEKS FREE DOWNLOAD IS…

NewRetroWave — Wed, 20 Aug 2014 19:22:00 +0000

NONE OTHER THAN

LAZERPUNK!

WITH HIM DEBUT ALBUM

“GAME OVER”

LISTEN UP!
164. LAZERPUNK! – Game over by Werkstatt Recordings

2014 IS THE YEAR THE RETRO SCENE TAKES OVER THE BIG SCREEN!

NewRetroWave — Mon, 03 Feb 2014 17:18:00 +0000

THE MOVIE “DRIVE” REALLY INSPIRED MANY YOUNG AND OLD FILMMAKERS TO GET BACK INTO THE RETRO SCENE AND PUSH INDEPENDENT MOVIE MAKING. FROM “RAGE” TO “FUNG FURY” AND NOW……TO

“VALROSA BEACH”

LET’S HELP GET THESE INSPIRED FILMMAKERS TO THEIR GOAL AND BLESS THE RETRO SCENE WITH ANOTHER GREAT MOVIE.

SUPPORT

CLICK BELOW FOR MORE INFO

https://www.kickstarter.com/projects/1021813084/valrosa-beach-a-1980s-noir

NRW

PIXELATED RETRO SOUNDS!

NewRetroWave — Fri, 24 Jan 2014 02:19:00 +0000

Gamer

Smoke
Signals EP

Smoke Signals by GAMER

Gamer,
hailing from New Zealand (the country that has royally bought us
Lorde) have released their second EP “Smoke Signals”.

Stylistically,
as their name implies, Gamer sits at the 8-bit, retro video game end
of the musical spectrum. Drums are suitably simple and rigidly
programmed and the songs are economically constructed. Tracks have
names like ‘Quest’, ‘Turbo’ and ‘Maximum Pursuit’ – these guys like
their video games and the music that goes with it!

The
“Smoke Signals” EP features four tracks. Opening with the
title track, a slow-paced, synth-washed affair that could easily
close-out the end credits of a movie.

‘Winners
Take All’ is high-energy game music that implies you are about to
play a level that involves some quick thinking and sharp skills. Are
you ready to do battle on this special stage, race the track and take
down the opponents in the process? Here we go! The track also
features what sounds like a retro motocross commentary in part.

Next
up is ‘Zeros and Ones’. This is a more conventional sounding ‘song’
with a nice big polysynth sound (presumably a Roland Juno). Adding a
vocal to this song could work well and would turn it into an catchy
pop track.

Closing
the EP is ‘Maximum Pursuit’ which ramps things up. Your challenge is
to catch the offenders (or be caught as the case may be). The music
sets up the scene and even if you crash and burn at least the music
will soften the humiliation of defeat!

One
thing to mention about Gamer is that they also create retro ‘pixel
art’. This results in some excellent visuals to accompany several
of their tracks in the form of animated music videos. The animation
is excellently done in a retro, 8bit video game style. These videos
have an underlying twisted sense of humour with a bizarre range of
ideas and characters – aliens, the Pope, fast cars, guns, medical
experiments…It’s freak out time! The clips are well worth checking
out as they show what Gamer is really about – music and visuals.

Overall
a “Smoke Signals” is a solid follow-up EP to their
self-titled debut. Geographically it is an important release from a
country which is not known for producing a lot of electronic music.
Maybe a Gamer remix of a Lorde track is in order then, or one of
their pixel art music videos – Lorde being dissected by crazy aliens
would really be something!

Gamer
on Bandcamp: http://gamer.bandcamp.com/

Check
them out as “SpaceFader’ on YouTube:
http://www.youtube.com/user/SpaceFader?feature=watch

Written by

Andrew B White

www.andrewbwhite.com

http://soundcloud.com/lucadiscs

DAFT PUNK GETS THE ULTIMATE REMIX! – EPIC WORK!

NewRetroWave — Tue, 22 Oct 2013 22:44:00 +0000

JUST LISTEN TO THIS HOTNESS!

MAJOR SHOUT OUT TO SPINA RAFFAELLE ON THE BUTTONS!!

😉

YOUR EYES ARE ABOUT TO BE AMAZED!!!

NewRetroWave — Thu, 18 Apr 2013 01:17:00 +0000

JUST LOOK AT THIS WONDERFUL VIDEO ..

ALL IN PIXEL ART FROM!!

IF POWER GLOVE HAD TO REPOST THIS HOTNESS, THEN WE SURELY APPROVE!

😉

NRW

THIS WEEKS FREE DOWNLOAD IS…

NewRetroWave — Tue, 05 Feb 2013 01:18:00 +0000

BY A CHIP MUSIC PRODUCER WHO GOES BY THE NAME…

A_RIVAL

ALL OF THESE THEMES ARE ORIGINALLY CRAFTED FROM SCRATCH AND ARE INSANELY EPIC! THIS IS LEGIT VINTAGE WORK RIGHT HERE.

SOMETHING FOR THE STREET FIGHTER NOSTALGIC PEEPS!!

ENJOY!!

Street Fighter X Mega Man OST by A_Rival

😉

NRW

THIS WEEKS FEATURED ARTIST IS ……

NewRetroWave — Sat, 08 Sep 2012 23:37:00 +0000

BEATBOX MACHINERY

IF YOU ARE INTO THE 8-BIT SOUND THEN THIS DUDE IS DEFINITELY FOR YOU. THE FEATURED ALBUM ENTITLED “8-BIT SEQUENCE” PAYS HOMAGE TO THE 8-BIT VIDEO GAME SOUND WHILE ADDING MODERN AESTHETICS TO THE STRUCTURE AND OVERALL FEEL OF THE TRACKS.

THE ALBUM WAS ALSO COMPOSED IN REAL TIME WHICH MANY ARTISTS ARE AFRAID TO DO NOWADAYS!!

THE OVERALL FEEL OF THIS PROJECT IS TOTALLY INTRICATE AND MOST IMPORTANTLY ….FUN. CHECK IT OUT HERE

TRACKS TO LOOK OUT FOR 3,5 AND 6. HOT STUFF…ESPECIALLY 6!!!

BEATBOX MACHINERY – 8 bit sequence by Werkstatt Recordings