Tag Archives: Sega

FM Synthesis & Video Games: Trackers

For this series of FM synthesis music I want to go into a fair bit of detail regarding FM synthesis. Especially experimenting with FM synthesisers to make retro music. However this slightly shorter article is going to give a quick overview of the most popular method for creating retro FM game music.

deflemask
DefleMask is one of the most versatile trackers for those seeking to emulate the sounds of Sega’s Master System & Mega Drive consoles

One of the most popular ways to make chiptune music in this day and age is utilising trackers. Trackers are in essence a simplified Digital Audio Workstation (DAW) which rather than being laid out horizontally, for instance how Logic, Ableton, Fruity Loops and other DAW’s are, they are laid out vertically. Typical to trackers are the six following areas:

– Channels (tracks) (these run vertically down and from left to right)

– Notes

– Patterns

– Samples

– Effects

– Orders

There’s some great written and video tutorials online which go in-depth about using trackers so I won’t go into detail here. But essentially trackers work by ordering samples which have been pitched by note value into patterns and orders on the channels. Effects are then used to further enhance the programmed material. Effects in trackers however aren’t the usual reverb, delay, chorus, etc. that you may find in a DAW. But rather ways to add variation to the programmed notes in terms of pitch, stereo positioning and volume. Such effects include Arpeggios, Vibrato, Portamento, Tremolo and Panning.

As mentioned in the previous article there are a number of classic audio chips out there that were used in gaming systems. One chip that was specifically mentioned was the Yamaha YM2612 which was used notably in the Sega Genesis and Megadrive systems. This chip, along with others, have support from such trackers as DefleMask. Meaning you can program audio for specific chips using these trackers.

For further reading (and viewing) I have included some links below of both trackers and tutorials on using them.

Trackers:

http://woolyss.com/chipmusic-chiptrackers.php

http://www.delek.com.ar/deflemask

http://www.milkytracker.org/

Tracker Tutorials:

DefleMask Tutorial 1: https://www.youtube.com/watch?v=eGCsrzaIFDE

Techniques Of Chipping: http://milkytracker.org/docs/Vhiiula-TechniquesOfChipping.txt

Making A Chiptune: https://www.youtube.com/watch?v=-TYyDLElP4c

Throughout my years studying music composition and production I have learnt how to program synthesizers for certain projects. As part of this it was a wise idea to learn how to program FM synthesisers. FM synthesis isn’t as easy to get to grips with as subtractive synthesis but it does reap rewards once learned. So throughout future articles, I will discuss how to program FM synthesisers. In discussion will be programming various sounds and how to get the synths sounding retro. Part of this will be covering numerous techniques of how to achieve the retro sound by means of modern effects such as bitcrushing. But we will also look into what else can be done to give the synthesizers and audio the retro game sound.

Joe Gilliver – BA Hons (Ocular Audio)

Composer | Producer | Sound Designer

www.ocularaudio.com

 

 

 

Bass Cadet 01 – Thunder Force IV

Welcome to my new weekly feature – Bass Cadet.

Every week I will be showcasing a piece of music that’s relevant to the retro enthusiast right here on Bass Cadet. Requirements and criteria for a me to cover a single track, album or even a live performance are as follows:

  • Composition must be strictly electronic.
  • The production may be for a game or any other medium but it must be able to work as a game soundtrack.
  • Vitally important for all compositions to be instrumental but samples and singing are permitted, provided they are a good match.
  • Experimental compositions are allowed but they must be listenable.
  • It may be an old or new production but it must sound positively retro.
  • Last but not least, it must sound great!

Now that I’ve got that out of the way, let’s kick off this week’s feature with something awesome. Technosoft (also known as Tecno Soft) were the code house behind the truly remarkable Thunder Force series. They were also know for the astounding sound work on their game releases.

Thunder Force IV on the Sega Mega Drive (Genesis for those in the U.S.) is one of my favourite horizontal scrolling shmups of all time. It’s just one of those games that strikes the right balance between visuals, sound and play mechanics. A masterpiece bar none.

Since TFIV was developed for the Mega Drive the music is obviously using the system’s Yamaha YM2612 FM-based chip. The previous article covered FM-Synthesis and gave some excellent examples of it’s applications.

However, Thunde Force IV is the standard-bearer for FM-Synthesis on the Mega Drive. Composed by Takeshi Yoshida, Toshiharu Yamanishi and Tomomi Otani they managed to put that little Yamaha chip through it’s paces. If you click on the video above, the results speak for themselves. Fusing techno-jazz with metal, this can only be described as 16-bit cyber thrash, space orchestra. Enjoy!