WEBVTT - TechStuff Tidbits: 8-Bit Audio 0:00:04.400 --> 0:00:07.760 Welcome to Tech Stuff, a production from my Heart Radio. 0:00:11.920 --> 0:00:14.520 Hey there, and welcome to tech Stuff. I'm your host, 0:00:14.680 --> 0:00:20.079 Jonathan Strickland. How the tech are you? And you know, 0:00:20.280 --> 0:00:23.599 I've noticed something. Everyone notices this. This doesn't make me special, 0:00:23.680 --> 0:00:27.040 but every now and again, trends have this tendency to 0:00:27.080 --> 0:00:30.320 repeat themselves. You know, you see things that were trendy 0:00:30.360 --> 0:00:32.880 once upon a time fade away and then years later 0:00:33.360 --> 0:00:37.280 kind of get a renaissance, and trends that are really 0:00:37.360 --> 0:00:40.080 rooted in nostalgia do this a lot. So I thought 0:00:40.120 --> 0:00:43.280 it would be cool to talk about something that occasionally 0:00:43.360 --> 0:00:48.040 becomes trendy, and that is eight bit music or chip dunes, 0:00:48.840 --> 0:00:51.960 and these are things that often find their way into 0:00:52.120 --> 0:00:55.400 various types of pop culture. Sometimes there's a resurgence in 0:00:55.400 --> 0:01:01.120 the style. Sometimes music will reference this kind of stuff, 0:01:01.160 --> 0:01:05.480 either directly or indirectly. But first we got to figure 0:01:05.480 --> 0:01:09.120 out what the heck we're talking about, right, Well, we're 0:01:09.120 --> 0:01:14.520 really talking about that distinctive kind of electronic music that 0:01:14.680 --> 0:01:17.399 sounds like it came straight from a classic video game, 0:01:17.680 --> 0:01:21.240 perhaps in the old Nintendo Entertainment System era. Really, the 0:01:21.360 --> 0:01:25.640 NES era is like the golden age for the eight 0:01:25.680 --> 0:01:45.480 bits sound. It would sound something like this that was 0:01:45.680 --> 0:01:50.840 cannon indeed for eight bits. Since by Kevin McLeod, you've 0:01:50.920 --> 0:01:54.360 likely heard a lot of McLeod's work online. His website 0:01:54.400 --> 0:01:59.440 incompatach is a popular source for royalty free music. This 0:01:59.520 --> 0:02:03.080 particular our piece really touches on the features that make 0:02:03.240 --> 0:02:08.320 eight bit music distinctive. Now, there's one thing that we 0:02:08.400 --> 0:02:12.240 really should clear up right away. The reason music like 0:02:12.320 --> 0:02:16.600 what you just heard sounds the way it sounds is 0:02:16.720 --> 0:02:22.160 not specifically because the chip responsible was an eight bit chip. 0:02:22.880 --> 0:02:26.400 The eight bit designation tells us that the chip is 0:02:26.440 --> 0:02:30.080 able to store and process a maximum of eight bits 0:02:30.120 --> 0:02:33.720 per data block, and a bit, just to remind you, 0:02:34.320 --> 0:02:37.639 is the basic unit of digital information. It can be 0:02:37.720 --> 0:02:41.200 represented as a zero, or as a one or off 0:02:41.320 --> 0:02:43.920 and on. As I often say, now, if you have 0:02:44.000 --> 0:02:47.800 eight bits strung together, you can represent up to two 0:02:47.919 --> 0:02:52.480 hundred fifty six different values from zero up to two 0:02:52.600 --> 0:02:57.200 hundred fifty five. Now, the eight bit designation really did 0:02:57.560 --> 0:03:01.040 have a big impact on software. It limited what you 0:03:01.040 --> 0:03:05.320 could do graphically and computationally. But really, when it comes 0:03:05.320 --> 0:03:08.519 to the sound generated by systems like the classic in 0:03:08.560 --> 0:03:14.240 ne s, the factors that shape that sound weren't directly 0:03:14.360 --> 0:03:16.760 tied to the fact that the chip set had an 0:03:16.760 --> 0:03:20.920 eight bit word size capability to them, but the reason 0:03:21.360 --> 0:03:26.160 for that distinctive sound is really due to the microchips 0:03:26.360 --> 0:03:30.080 used in classic gaming consoles and the types of sounds 0:03:30.120 --> 0:03:34.119 that they were capable of generating. For example, the AT 0:03:35.320 --> 0:03:39.080 had a chip called the Television Interface Adapter or t 0:03:39.280 --> 0:03:43.839 i A or TIAH. This chip was responsible for quite 0:03:43.840 --> 0:03:46.520 a few jobs. Actually, it served as the interface for 0:03:46.640 --> 0:03:50.320 inputs coming into the console from the controllers, so, in 0:03:50.320 --> 0:03:53.000 other words, it was what was responsible for making pac 0:03:53.080 --> 0:03:55.520 Man go up when you pushed up on the joystick. 0:03:55.960 --> 0:03:59.240 It was also responsible for generating what you saw on 0:03:59.360 --> 0:04:02.280 your television and screen, and it was also in charge 0:04:02.320 --> 0:04:08.520 of generating sound effects. The Autary had two oscillator channels, 0:04:08.640 --> 0:04:12.400 essentially to audio channels, and it was really limited in 0:04:12.480 --> 0:04:16.440 what it was able to produce. One channel was essentially 0:04:16.480 --> 0:04:20.479 a pulse channel which could produce different tones, and the 0:04:20.560 --> 0:04:24.640 other channel was a noise channel. You couldn't really program 0:04:25.240 --> 0:04:27.960 sophisticated music on it without jumping through a lot of 0:04:28.000 --> 0:04:32.240 programming hoops in order to play a specific note. By 0:04:32.360 --> 0:04:35.679 using the pulse channel to play two D tuned notes 0:04:35.720 --> 0:04:38.640 and quick succession. So, in other words, rather than being 0:04:38.680 --> 0:04:42.279 able to produce, say like a middle C, you're producing 0:04:42.360 --> 0:04:45.120 tones that are a little below and a little above 0:04:45.200 --> 0:04:48.440 middle C, and you're alternating them very quickly, and the 0:04:48.560 --> 0:04:54.360 vibrato effect makes us perceive a warbly middle C note. 0:04:55.279 --> 0:04:58.560 The noise channel would generate noise that would serve as percussion. 0:04:58.760 --> 0:05:02.720 It was pretty jankie for that reason. The vast majority 0:05:02.800 --> 0:05:07.200 of a hundred games had no background music. They might 0:05:07.279 --> 0:05:09.680 have a little bit of intro music, and there were 0:05:09.680 --> 0:05:13.680 a couple of exceptions, notable ones. In fact, Pitfall two, 0:05:13.720 --> 0:05:17.560 for example, had an actual game soundtrack, and not only that, 0:05:18.120 --> 0:05:21.760 the soundtrack was dynamic, which meant the music would change 0:05:21.839 --> 0:05:25.480 depending upon what was going on in the game. This 0:05:25.560 --> 0:05:27.520 was a pretty tough thing to pull off from a 0:05:27.560 --> 0:05:30.400 programming standpoint back in those days, simply due to the 0:05:30.400 --> 0:05:35.240 limitations of the hardware, and in a way, those limitations 0:05:35.360 --> 0:05:38.120 ended up being a big part of what makes eight 0:05:38.160 --> 0:05:43.240 bit and chip tune music so distinctive. The limitations forced 0:05:43.320 --> 0:05:47.440 musicians to find ways to be creative and expressive within 0:05:47.640 --> 0:05:51.520 very tight boundaries. Now, sometimes restrictions lead creative types to 0:05:51.560 --> 0:05:55.560 do amazing work for at least some types of creatives, 0:05:55.920 --> 0:05:59.320 being unbounded ends up being kind of a drawback. If 0:05:59.320 --> 0:06:02.960 you're told they're limitations and you have nothing to push against. 0:06:03.440 --> 0:06:06.760 Then for a lot of creative people, including myself, it 0:06:06.800 --> 0:06:09.640 can actually paralyze you because you realize like there are 0:06:09.680 --> 0:06:12.679 no like when when there are no limitations and everything 0:06:12.760 --> 0:06:15.640 is on the table, you have to choose what you do, 0:06:16.240 --> 0:06:20.920 whereas restrictions limit your options, and it actually can make 0:06:20.960 --> 0:06:24.640 it easier to create. It seems counterintuitive, but for many 0:06:24.640 --> 0:06:27.560 people that is the case for myself included. So restrictions 0:06:27.560 --> 0:06:33.360 and boundaries create certain rules that you can play around within. Now, 0:06:33.400 --> 0:06:36.559 in the arcades, it was a different story from video 0:06:36.560 --> 0:06:39.880 game consoles. An arcade machine has a lot of specific circuitry. 0:06:40.160 --> 0:06:44.360 So your basic classic arcade machine is designed to play 0:06:44.400 --> 0:06:48.840 one game and that's it. All the circuits in the 0:06:48.920 --> 0:06:52.400 arcade machine are the actual game itself. It's not running 0:06:52.400 --> 0:06:55.960 a program off a disk or a cartridge or a 0:06:56.000 --> 0:06:59.880 digital file. The actual game is hard coded on the 0:07:00.000 --> 0:07:04.480 ships and circuitry. But arcade machines could incorporate multiple sound 0:07:04.560 --> 0:07:08.240 chips to increase the number of audio channels available and 0:07:08.240 --> 0:07:12.400 thus produced more sophisticated music. One very early example of 0:07:12.440 --> 0:07:15.880 such a game was a game called Vanguard, which came 0:07:15.880 --> 0:07:20.360 out way back in The crazy thing about Vanguard from 0:07:20.400 --> 0:07:23.160 a music perspective, anyway, is that it was one of 0:07:23.200 --> 0:07:26.480 the first arcade games to make use of licensed music. 0:07:27.160 --> 0:07:29.440 For one thing, it used a bit of the theme 0:07:29.560 --> 0:07:32.480 from Star Trek, the motion picture that would end up 0:07:32.480 --> 0:07:35.520 being the same motif that would be used later on 0:07:35.680 --> 0:07:39.400 in Star Trek the next generation. It also incorporated a 0:07:39.480 --> 0:07:43.680 motif from the nineteen eighty film Flash Gordon, which had 0:07:44.080 --> 0:07:49.920 a killer soundtrack composed by the band Queen. Specifically, the 0:07:50.000 --> 0:07:54.000 game has a chip Tunes version of Voltan's theme from 0:07:54.040 --> 0:08:00.240 the movie, and it totally rules. Now, these chips could 0:08:00.240 --> 0:08:04.880 produce certain types of wave forms of audience, and typically 0:08:05.480 --> 0:08:08.240 these chips were very limited in that they could produce 0:08:08.320 --> 0:08:12.200 only one kind of wave form per chip, or per 0:08:12.640 --> 0:08:15.840 audio channel I should say, not chip, but audio channel. 0:08:15.880 --> 0:08:21.080 So let's talk a bit about oscillators and signals and waveforms. Now. 0:08:21.120 --> 0:08:25.240 First off, an oscillator is essentially an electronic circuit that 0:08:25.320 --> 0:08:30.400 generates a continuous output signal and that's it. We typically 0:08:30.400 --> 0:08:33.040 see that output in the form of some sort of 0:08:33.080 --> 0:08:38.960 repeating curve or sinusoid. If you have familiarity with trigonometry, 0:08:39.320 --> 0:08:43.680 you likely are familiar with sinusoidal waves or sine waves. 0:08:44.160 --> 0:08:48.680 You've got a triggonometric function that, when plotted on a graph, 0:08:48.960 --> 0:08:54.400 generates this wave. Now, a simple sinusoidal wave produces waves 0:08:54.440 --> 0:08:58.760 that are equal length and amplitude. This is very simple. 0:08:58.800 --> 0:09:03.640 This is like if you're produce saying a steady unaltered signal, 0:09:03.960 --> 0:09:08.160 Like if you were just to produce the electronic equivalent 0:09:08.200 --> 0:09:10.720 of a C note, so you would have the steady 0:09:10.760 --> 0:09:14.400 frequency of identical waves. The frequency refers to the number 0:09:14.440 --> 0:09:16.840 of waves that pass a given point within a given 0:09:16.840 --> 0:09:20.480 amount of time. And we can plot sound waves like 0:09:20.559 --> 0:09:23.000 this too. Like electronic waves, we can plot this way, 0:09:23.080 --> 0:09:25.960 and sound waves we can plot this way. So that 0:09:26.200 --> 0:09:30.040 C note where you have a regular pitch and it's 0:09:30.080 --> 0:09:33.160 like a pure C note, there's no vibrato going on here. 0:09:33.520 --> 0:09:38.240 You're gonna have a a side wave plotted to represent 0:09:38.320 --> 0:09:41.680 this sound wave where you have this very smooth curve 0:09:42.120 --> 0:09:45.559 where you have uh waves that are each the same 0:09:45.600 --> 0:09:49.439 wave length and they're all the same amplitude or height, 0:09:49.640 --> 0:09:52.080 which means it's all played at the same volume. The 0:09:52.120 --> 0:09:56.040 way we hear it, and it would be very pretty 0:09:56.040 --> 0:09:59.040 and neat. It would also be boring to listen to. UM. 0:09:59.080 --> 0:10:03.280 If you were to change the pitch of a sound, well, 0:10:03.320 --> 0:10:05.920 then that would mean that the frequency would go up 0:10:06.400 --> 0:10:09.200 and the wavelength of the waves would decrease, so you 0:10:09.200 --> 0:10:12.520 would have shorter waves and more waves would pass a 0:10:12.559 --> 0:10:14.440 given point within a certain amount of time, So the 0:10:14.440 --> 0:10:18.360 frequency increases lower pitches. It's the opposite. The waves would 0:10:18.360 --> 0:10:21.160 be longer and fewer would pass a given point in 0:10:21.240 --> 0:10:24.679 time UM or a given point within a given amount 0:10:24.720 --> 0:10:26.800 of time, I should say, and thus you would have 0:10:26.880 --> 0:10:30.760 a lower pitch. But with electronic oscillators, we can produce 0:10:30.920 --> 0:10:34.720 lots of different shapes of waves, and those different shapes 0:10:34.760 --> 0:10:37.880 can correspond with different sounds in the case of audio chips, 0:10:37.920 --> 0:10:40.520 that is. Keep in mind that continuous signals can be 0:10:40.600 --> 0:10:43.840 used to produce all sorts of different stuff, not just audio. 0:10:44.240 --> 0:10:46.559 So when we come back, we'll talk about these different 0:10:46.600 --> 0:10:49.560 waveforms and what they can be used to do. But 0:10:49.640 --> 0:11:00.600 first let's take this quick break. Okay we're now. I 0:11:00.640 --> 0:11:04.000 Am not going to do a full deep dive into 0:11:04.040 --> 0:11:07.920 all the different kinds of waves that oscillators can produce. 0:11:08.000 --> 0:11:10.960 Because that would be a podcast all by itself. But 0:11:11.080 --> 0:11:13.880 let's talk about the basic forms that you found in 0:11:14.040 --> 0:11:17.160 say the nes You know, the different audio channels and 0:11:17.200 --> 0:11:20.559 what they could produce and what those sound like. So 0:11:20.840 --> 0:11:24.480 in the case of electronic audio and synthesized audio, the 0:11:24.640 --> 0:11:28.560 shape of the wave form determines the timbre or character 0:11:29.160 --> 0:11:32.480 of a sound, the tone. So one type of wave 0:11:32.520 --> 0:11:35.040 form that's really important in the eight bit sound genre 0:11:35.559 --> 0:11:40.240 is the square wave. Square wave forms and electronics are 0:11:40.240 --> 0:11:44.520 often used for stuff like clock timing signals. A sign wave, 0:11:44.640 --> 0:11:48.560 like I said, has a smooth curve, so it it 0:11:49.360 --> 0:11:52.720 rises and reaches a peak and then descends in a 0:11:52.800 --> 0:11:57.480 very smooth fashion. Square waves go from the zero point 0:11:57.559 --> 0:12:00.400 and they jump straight up to whatever they're a alitude 0:12:00.480 --> 0:12:03.480 ends up being for however long the wavelength is, so 0:12:03.840 --> 0:12:06.480 there's no curve. It just goes from zero and then 0:12:06.559 --> 0:12:09.640 jumps straight up to whatever the amplitude is, stays that 0:12:09.679 --> 0:12:12.400 way for the length of the wave, and then drops 0:12:12.520 --> 0:12:15.520 right back down to zero. So they look like squares 0:12:15.559 --> 0:12:18.120 when you plot them on a graph, Thus the name 0:12:18.440 --> 0:12:22.760 square wave. Now, in digital audio, that kind of wave 0:12:22.880 --> 0:12:26.760 produces those chirpy beep noises we think about with eight 0:12:26.840 --> 0:12:29.560 bit or chip tune music. So these wave forms are 0:12:29.600 --> 0:12:33.360 typically used to create the sounds used to generate a 0:12:33.400 --> 0:12:37.360 melody in a musical piece in a video game. So, uh, 0:12:37.559 --> 0:12:40.400 you usually do this in order to create the main 0:12:40.559 --> 0:12:45.720 melodic theme of whatever the pieces. The Nintendo Entertainment System 0:12:45.880 --> 0:12:51.320 or the NES had two channels capable of producing square waves, 0:12:51.440 --> 0:12:53.760 and by using both of the channels at the same time, 0:12:53.800 --> 0:12:57.000 you could create warbly vibrato sound. You know, you could 0:12:57.040 --> 0:12:59.600 have one channel producing one pitch and the second channel 0:12:59.600 --> 0:13:03.320 producing a different pitch, and then you could you know, 0:13:03.600 --> 0:13:06.000 slightly offset them so you would get that warbly sound. 0:13:06.080 --> 0:13:09.880 Or you could even create a melody and harmony together 0:13:10.440 --> 0:13:15.200 and program each of those those uh lines of of 0:13:15.280 --> 0:13:20.400 data to produce different squares on their square waves. Now, 0:13:20.440 --> 0:13:25.120 next up we have triangle waves. Triangle waves. Hate person waves. 0:13:25.200 --> 0:13:29.560 They have a fight, triangle wins triangle waves. And yeah, well, 0:13:29.720 --> 0:13:32.360 these triangle waves, when you plot on a graph or 0:13:32.440 --> 0:13:34.840 you display it on a monitor, they look like triangles. 0:13:35.280 --> 0:13:38.040 The wave rises very sharply to a point and then 0:13:38.080 --> 0:13:42.440 immediately descends afterward, and so they're not it's not straight 0:13:42.520 --> 0:13:44.880 up and down like a square wave. It's at an angle, 0:13:44.960 --> 0:13:48.120 but it's at a sharp angle, so they look like triangles. Uh. 0:13:48.160 --> 0:13:51.840 These typically come in as a softer sound than square 0:13:51.840 --> 0:13:55.120 waves do, and they very often were used to generate 0:13:55.400 --> 0:13:58.720 a baseline for video game music, so you would produce 0:13:58.840 --> 0:14:04.040 lower pitched sounds. The NES third audio channel was dedicated 0:14:04.080 --> 0:14:07.480 to creating triangle waves. So if you're keeping count, the 0:14:07.600 --> 0:14:10.880 NES had two channels that would produce square waves, typically 0:14:10.920 --> 0:14:14.400 for melody maybe harmony, and then a third one that 0:14:14.520 --> 0:14:18.000 was used to produce triangle waves for the baselines. Then 0:14:18.160 --> 0:14:21.160 then e S had a noise channel, and that would 0:14:21.160 --> 0:14:24.560 produce noise, which really just means a signal that contains 0:14:24.600 --> 0:14:27.320 a certain range of frequencies, all the frequencies within a 0:14:27.360 --> 0:14:31.400 given spectrum, and all those frequencies would all be played 0:14:31.440 --> 0:14:36.120 at the same amplitude or volume, so there's no note 0:14:36.480 --> 0:14:39.600 in noise. Or you could say there are all the 0:14:39.680 --> 0:14:42.920 notes within a given spectrum that are all played at 0:14:42.920 --> 0:14:46.160 the same volume, so you can't pick any single note 0:14:46.160 --> 0:14:50.880 out and it just becomes noise. UM. I associate noise 0:14:51.240 --> 0:14:54.440 with static, but then I also realized this is something 0:14:54.480 --> 0:14:58.200 that dates me because these days you don't encounter static 0:14:58.280 --> 0:15:01.000 in the wild anymore. Right, it's you as an effect 0:15:01.800 --> 0:15:04.560 in many cases, but it's not like you you're switching 0:15:04.600 --> 0:15:07.000 channels on your television and you hit static and you 0:15:07.040 --> 0:15:12.600 get that noise. Anyway, noise was usually used to create 0:15:12.640 --> 0:15:17.440 percussive beats for a song, so the NESS fourth audio 0:15:17.520 --> 0:15:20.360 channel would do just that. It was used as a 0:15:20.400 --> 0:15:24.320 percussion track. The NES also had a fifth audio channel 0:15:24.440 --> 0:15:28.800 which was dedicated to playing very short clips of sampled sounds. 0:15:28.800 --> 0:15:32.480 So these were sounds that you could record in the 0:15:32.520 --> 0:15:36.520 real world and play back in a digitized format. And 0:15:36.640 --> 0:15:40.760 this channel could playback stuff that included digitized speech. Now 0:15:40.800 --> 0:15:44.520 Here is where that eight bit limitation actually does come in. 0:15:44.520 --> 0:15:47.600 In the previous examples, we're really talking about the wave 0:15:47.680 --> 0:15:52.400 form being what is important to create that distinctive eight 0:15:52.440 --> 0:15:55.520 bit audio. But when it comes to digitized speech, the 0:15:55.600 --> 0:15:59.520 eight bit limitation actually plays a big part in it. Uh. 0:15:59.640 --> 0:16:03.240 If you listen to digitized speech from the NES era, 0:16:03.880 --> 0:16:07.320 you're gonna hear there's a lot of noise introduced in 0:16:07.480 --> 0:16:11.600 that speech. Like it's not a clear recording. Uh. If 0:16:11.640 --> 0:16:14.520 you were a fan of the classic Gauntlet games, I'm 0:16:14.520 --> 0:16:18.440 talking about the original versions of Gauntlet, not like remasters 0:16:18.520 --> 0:16:23.040 or anything. You probably remember there was a digitized voice 0:16:23.040 --> 0:16:24.520 with a lot of noise in it that would say 0:16:24.520 --> 0:16:27.920 things like red war here, your life force is running out, 0:16:28.320 --> 0:16:33.160 or green Elf shot the food because the digitized narrator 0:16:33.200 --> 0:16:36.360 of that game was a total snitch. Anyway, if you 0:16:36.440 --> 0:16:39.280 remember what that sounded like, you remember there was this 0:16:39.480 --> 0:16:43.920 noisy element to the speech, and again that was largely 0:16:44.000 --> 0:16:47.160 because of the limitations of a bit technology that would 0:16:47.160 --> 0:16:50.120 improve over time. So when we get to stuff like 0:16:50.240 --> 0:16:55.440 chip tunes or modern music that replicates the sound of 0:16:55.480 --> 0:16:59.080 these video games, we're really talking about musicians using digital 0:16:59.120 --> 0:17:03.760 instruments or in computer workstations to generate those classic wave 0:17:03.840 --> 0:17:07.240 forms from the nes video game era and thereabouts, the 0:17:07.280 --> 0:17:10.560 triangle waves and the square waves. It's not about slapping 0:17:10.560 --> 0:17:13.880 an eight bit chip into a digital amplifier or something. 0:17:14.359 --> 0:17:18.920 It's rather creating those very specific, continuous signals in order 0:17:18.960 --> 0:17:22.720 to get the sounds you want. Uh. They sound pretty 0:17:22.800 --> 0:17:25.480 darn cool if you ask me. But I'm also a 0:17:25.520 --> 0:17:28.160 guy who's going into his late forties, so it really 0:17:28.200 --> 0:17:31.920 hits a nostalgic place for yours truly. Anyway, I thought 0:17:31.920 --> 0:17:34.480 it would be interesting to kind of touch on what 0:17:34.680 --> 0:17:38.600 makes those sounds unique and what gives them the quality 0:17:38.680 --> 0:17:41.920 that we associate with them. And I hope you enjoyed 0:17:41.920 --> 0:17:45.280 this episode. If you have suggestions for future topics, feel 0:17:45.320 --> 0:17:46.800 free to reach out to me. One way you can 0:17:46.840 --> 0:17:49.080 do that is on Twitter the handle for the show's 0:17:49.080 --> 0:17:52.480 tech Stuff hs W. Another thing you could do is 0:17:52.520 --> 0:17:55.200 you can go to the I Heart Radio app and 0:17:55.359 --> 0:17:57.640 use the talk back feature on the tech stuff page 0:17:57.680 --> 0:18:00.360 and let me know. In fact, if there's a specific 0:18:00.600 --> 0:18:04.159 like classic video games soundtrack that you really love, like 0:18:04.200 --> 0:18:08.120 there's something in that eight bit music genre that speaks 0:18:08.119 --> 0:18:11.800 to you, I want to hear which one is your favorite? 0:18:11.840 --> 0:18:15.880 Because I have my favorites. I don't want to influence 0:18:15.920 --> 0:18:18.320 anybody else. I really want to hear, and maybe it'll 0:18:18.320 --> 0:18:20.200 be a game I'm not familiar with, and I'll get 0:18:20.200 --> 0:18:23.280 to discover music that I really love that I've never 0:18:23.320 --> 0:18:26.640 heard before. So if you have suggestions like that, use 0:18:26.680 --> 0:18:29.240 that talkback feature. You can record a sound clip of 0:18:29.320 --> 0:18:32.359 up to thirty seconds and I will see it in 0:18:32.359 --> 0:18:34.719 our little dashboard and I'll be able to listen to it. 0:18:34.960 --> 0:18:37.000 And heck, if we get enough cool responses, I can 0:18:37.080 --> 0:18:40.639 even include those in the future episode. All right, that's it. 0:18:41.040 --> 0:18:43.679 Hope you have a great day. I'll talk to you 0:18:43.720 --> 0:18:53.760 again really soon. Text Stuff is an I heart Radio production. 0:18:54.000 --> 0:18:56.840 For more podcasts from my heart Radio, visit the i 0:18:56.920 --> 0:19:00.119 heart Radio app, Apple Podcasts, or wherever you listen to 0:19:00.240 --> 0:19:01.119 your favorite shows.