System Requirements:

OS: Windows XP (SP3), Windows Vista (SP2), Windows 7, Windows 8.
Processor: AMD Athlon 64 4000+ (2600 MHz) or Intel Pentium D 950 Extreme (3400 MHz)
Memory: 1 GB RAM
Graphics: ATi Radeon X1300 Pro, NVIDIA GeForce 6200 TurboCache or Intel HD Graphics
DirectX: Version 9.0c
Hard Drive: 300 MB available space
Sound Card: DirectX 9.0c compatible.

little-scale has a PhD in chip music, and has played in New York, Mumbai, Tokyo and Melbourne at events such as TechFest, Blip Festival, Sound Bytes and Square Sounds. He makes things that make music.

System Requirements:

Mircosoft Windows XP
AMD Athlon XP 2600+
1.92GHz
1,25 GB RAM
NVIDIA GeForce FX 5200

Requires Microsoft XNA Framework Redistributable 4.0

and at least .NET Framework 4.0

Diode Milliampere: Active member of Chicago’s electronic-music scene. Fixture in the chiptune community. Internet celebrity?

Well, he did make it to the front page of Reddit. And a February profile on Vice’s Thump site raves about his “thick, futuristic dance jams that are too rich to simply be called ‘chiptune’,” noting the music’s “depth and complexity.” And guess what? He pulls all this off using a tiny, 15-year-old laptop on tracker software running in MS-DOS.

The idea of Sound of Games was born in 2009 to create the best game music in the world. We work on top of the latest innovations in technology and business models. Hollywood orchestras, class A musicians and high end studio gear are the standard for the premium game music that we produce. Every piece of game music is an exclusive, handcrafted masterpiece and never used twice. We perform our popular game music live on the stages of the big international Game Events and make them available on online music platforms.

Right now, Sound of Games has more than 50 Mio. listeners every month (May 2014). The following titles by Sound of Games have hit the German Game Charts and Music Charts:

­ Games Music History:

8 in the soundtrack charts, #30 dance & electro charts

­ Lords & Knights:

This game already has over 6.000.000 downloads and went into the Top 10 grossing iOS Charts in 42 Countries.

­ Celtic Tribes:

Launched in 2012, Celtic Tribes went into the top hundred in 41 countries. Our Original Soundtrack went #1 on Amazon top risers and #4 in the Folk Music Charts.

­ The Last Ninja:

On C64, The Last Ninja has been the bestselling game of all times. Sound of Games’ remix became #19 in the dance charts.

­ Sound of Games Vol.I:

Our first album went #23 in the soundtrack charts and was the world’s first game music with a chart entry ever!

System Requirements:

OS: Microsoft Windows XP / Vista / Seven / Eight
Processor: Intel Dual Core 1.4 Ghz
Memory: 512 Mb
Video Card: 256 Mb, Shader Model 2.0, c support for DirectX 9.0
Sound Card: Sound device compatible with DirectX 9.0

System Requirements:

To run the game you need a video-card with OpenGL 3.0 support and at least
512MB of video memory.

Original Game Soundtrack to Dynablaster Revenge.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things: Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery. Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work: While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames. After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute: His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

In 1989 John Foxx collaborated with Tim Simenon of Bomb the Bass, on a musical project called Nation 12, and although two singles were released, the album never saw completion, although one track, “Into the Wonderful” was sampled for a popular video game, Gods.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things: Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery. Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work: While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames. After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute: His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.