God gave us 0 and 1

OctaMed was a program for making music on a Commodore Amiga computer, it had a synthesizer, it allowed you to load samples, it used a maximum of four audio or midi channels.

Using a program meant that someone had filled one or more floppies with rules and data, so people like these hackers who assembled cracks couldn't use it to insert animations and music into other floppies that were already full.
Their work meant redoing all the logic, origin, development and physics of a multimedia starting from nothing, using a minimal amount of data, creating ascii art and some algorithms still in use in modern browsers for viewing animated 3D objects.

Going back to this OctaMed synth, you could draw such minimal waves that we felt like cavemen with rocks in caves, when they made graffiti.
Everything else was controlled with cascading sequences of numbers.
It seemed like Matrix.

Holy Virgin: the real discomfort.
But this is the quintessence of all the electronic music produced in the world today. A kick drum, a 909, isn't it a sine impulse? Aren't snares and hats noises?

Everything started there, to evolve to today.

As sequencers, however, they were spectacular, because you could create serial rules with surgical precision. By doubling the speed of the waterfalls, for example, you had double the possibilities in the same time. You could multiply these rules tenfold.
This was about the fourth album I had made, year 2002 if I remember correctly.
It doesn't have the preparation and quality that you can achieve today in the studio with a professional master, but there was much more research and experimentation.
This track was in 5/4 metrics. An absurd rambling that had allowed me to create rules that I wouldn't be able to replicate today with a DAW like Ableton. I had made other tracks in 7/8. And they ran like missiles.
The broken breaks were also beautiful. Always with those metrics.

Last night I downloaded ReNoise, a program that I used a lot when I was young, which was the evolution of the OctaMed tracker, remade for PC, also able to exploit vst technology.
Today you can synchronize it very well with Ableton. I don't know how long it will take me to get rid of the rust that has accumulated in 20 years, but I'm curious to see what potential there is today by merging two eras.

Surely for genres like acid something will come out. Very calmly because now I have to finish the already programmed records, which are the work of months.