The MOS6581, more commonly known as the Sound Interface Device, or SID chip, was the sonic heart of the Commodore 64 home computer. By considering the chip’s development, specification, uses and creative abuses by composers and programmers, alongside its continuing legacy, this paper argues that, more than any other device, the SID chip is responsible for shaping the sound of videogame music. Compared with the brutal atonality of chips such as Atari’s TIA, the SID chip offers a complex 3-channel synthesizer with dynamic waveform selection, per-channel ADSR envelopes, multi-mode filter, ring and cross modulation. However, while the specification is sophisticated, the exploitation of the vagaries and imperfections of the chip are just as significant to its sonic character. As such, the compositional, sound design and programming techniques developed by 1980s composer-coders like Rob Hubbard and Martin Galway are central in defining the distinctive sound of C64 gameplay. Exploring the affordances of the chip and the distinctive ways they were harnessed, the argument of this paper centers on the inexorable link between the technological and the musical. Crucially, composers like Hubbard et al. developed their own bespoke low-level drivers to interface with the SID chip to create pseudo-polyphony through rapid arpeggiation and channel sharing, drum synthesis through waveform manipulation, portamento, and even sample playback. This paper analyses the indivisibility of sound design, synthesis and composition in the birth of these musical forms and aesthetics, and assesses their impact on what would go on to be defined as chiptunes.
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