A thread about overdead., some of its ideas, and how I think of it in relation to rhythm games and rhythm gamers.

"overdead." represents something like an underflow error (going below 0 and ending up at 255/65535/whatever), or in a sense dying and then reincarnating.
Frums interpreted the concept to mean something like the opposite of dropdead (instead of 50BPM 15/16, it's 500BPM 17/16). The BPM steadily decreasing until you end up at the other side, somewhere extremely fast and alive.
From the beginning, the song "feels" more like 125BPM 17/16, which is intentional. The kick rhythm implies that feeling, but then starts decreasing.
In 1:04 the rhythm goes "half" time to imply a feel of "62.5BPM 17/32", then in 1:31 "31.25BPM 17/64"
That last "BPM" is important; it's below the BPM at which most humans are able to perceive a time interval between two sounds as a rhythm. It gets extremely hard to "feel" this rhythm without subdividing.
At 1:53 this happens. Here's a secret for everyone, pitch is just fast rhythm! The kick tone (E♭1/38.89Hz) is actually gabber kicks at 2333.452BPM (divided by 4 in the DAW) to recreate the pitch, which slows down again to 500BPM and becomes its own kick.
For "overdead." that represents the underflow error. That's an old trick and many people have used it before. Daft Punk has used it too! The bass slows down to become the kick.
From 2:00 of overdead. it launches into full 500BPM. I hesitate to say it's in 17/4, because while it's still structured that way, there's almost no point in counting it. It feels more like you're just timing in 1/4. That, my friends, is additive meter.
The point of additive meter is that you become unconcerned with the larger structure of the song that you create rhythms *within*, and only concern yourself with a main pulse that you create rhythms *around*. It creates a completely different feel.
At 2:17 overdead. reaches its final form. In the beginning it was mostly structured around "125BPM 16ths", and you could sorta feel it out in groups of 4-4-3-3-3 within 4/4 but with an extra 16th. This is that same grouping, but... you can't do that now.
I did sneaky things like changing some backing rhythms to triplets to make it hard to latch on to a larger context and force players to really feel the rhythm as 500BPM "1/4" in groups of 4-4-3-3-3. It's still not *too* far off from a "normal" rhythm, but weird enough.
I like this idea of constructing an additive meter-ish repeated rhythm a lot, forcing people to feel the groupings without a larger context. This is where it circles back to rhythm gamers; I actually think rhythm gamers are more capable of feeling irregular time AS additive time.
You can hear it in this song, it technically fits in 4/4, but is grouped in a pattern of 5-5-3-5-5-4-5 16ths. You could technically try to count in 4/4 to this song, but it would be of almost no help. Following its groupings is actually more helpful
For scrolling rhythm games, many rhythm gamers read visually, which doesn't really require keeping a larger time signature in mind. Sometimes all you need is the feel of a steady pulse (typically a 16th) to time the whole chart. That, to me, sounds like additive time.
Take for example DAY DREAM from drummania 3rdmix. It's also in 17/16, but you don't really need to know that to play it, or count in 17/16. It's just lots of 16ths, and you can keep time by feeling the duration of one 16th and building on it.
For a more modern example, the Got series from GROOVE COASTER. They are only difficult because many players come in with the preconceived notion of counting in the context of 4/4 or 3/4. It becomes much easier when you count up in groups of 8ths.
I think rhythm gamers are much more equipped to handle irregular time signatures and subdivisions than anyone realizes. The ability to count in additive time is an almost integral subconscious part of scrolling rhythm games. We just need to break free of the idea of 4/4.
Some people say that reading scrolling rhythm games purely visually is not understanding the rhythm, but I don't think so. By reading visually, you are taking into account note spacings, adding them up, and therefore subconsciously timing in additive meter.
All this to say that I think rhythm gamers shouldn't be afraid of irregular time/divisions, or think that they are unsuitable for rhythm games. With the right context, I think we're all capable of handling irregular time/divisions in rhythm games.
Sticking to 4/4 or 3/4 16ths and 12ths just seems real boring. I couldn't call myself a "rhythm" gamer if I only wanted to stick to those few rhythms. Irregular time to me isn't a challenge, it's natural extension of what it means to get better as a "rhythm" gamer.
Anyways that's the end of this long ass thread that was about overdead for a while and then turned into something else. No one asked for this, I just really wanted to talk about this stuff.
Obvious thanks to @frumsdotxyz who came up with the initial 4-4-3-3-3 concept and also the entire first half of the song that I ran away with. I sorta like to think that we're music theorists, but for rhythm?
Go listen to Tigran Hamasyan or subscribe to Music Theory Youtube or something, i dunno

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