hensap@pixelized:~$

Cafetune

Ambient chiptune for a café that never closes, playing music that never repeats.

hensap@pixelized:~$ cafetune --open --busy=60

playing
bar 0
mix
closed
Melody70

The tune on top. Turn it down to make this pure background.

Chords60

Short stabs between the beats, played as fast arpeggios.

Bass75

A walking bass line that steps up to the next chord.

Drums55

Noise-channel ride, snare and kick. Brushy, not loud.

Room45

Voices at other tables, glasses, spoons, the door.

How busy it is60

More notes, more fills, more people. Low is a quiet Tuesday.

Pick a key. Each one changes the mood; the band plays the same way.

hensap@pixelized:~$ man cafetune

Press Open the cafe and leave it running. Everything keeps working while you move the faders, so you never need to restart it.

Nothing on this page is a recording. Five parts are written one bar at a time while you listen. The bass walks in quarter notes and steps onto the next chord from a half-step away, the way an upright player does. The chords hit on the off-beats as fast arpeggios through a single oscillator, which is how 8-bit consoles faked a chord and why they sound like a chip instead of an organ. The melody keeps a short idea for two bars, bends one note, then throws it away and writes a new one.

The room is not a noise recording either. Every murmur is one synthesised voice: a pitch, three vowel filters that slide as it talks, and a syllable rhythm of about four a second. Glasses and cups ring on clashing overtones the way real objects do. Each person stands somewhere specific, and the ones further away lose their consonants and pick up more of the room.

Left alone, it strips itself back. Every twenty-four to forty bars the band drops to bass and drums for four bars, then puts the chords back, then the melody. The band also plays completely dry: there is no reverb on it at all, and the depth you hear is each melody note played again quieter an eighth later. That is how the original hardware faked an echo, by spending a channel on it instead of a effects unit.

This sits in the corner of chiptune that the scene calls ambient — chip timbres used for texture rather than for energy, which is a long way from the fast, punchy 8-bit music most people picture. The parts are the ones a Nintendo had to work with: two pulse channels for the tune and the chords, a triangle for the bass, and a noise channel for the drums. Each idea picks its own pulse width and switches to a second one partway through long notes, which is how a tracker changes the colour of a sound without a filter.

To use this while you work, put Melody near 20 and Room near 70. The tune stops competing for your attention and turns into texture.

hensap@pixelized:~$ cafetune --specs