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Thread: Video game music, OST,Soundchips etc

  1. #1
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    Default Video game music, OST,Soundchips etc

    Inspired by me coming across this video earlier today from the legendary Yuzo Koshiro (Streets of Rage series,Revenge of Shinobi,Ys,etc)





    Oi come bring your ideas what you think bout the influence of this stuff,what went into it documentaries all of it,podcasts WHATEVER

    all of you come bring wheh you know or wha you want fi know to the table cause i know you lot damn well know theres waves and waves of shit we like thats inspired by this

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  3. #2
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    in relation to the last video (the singer is Takenobu Mitsuyoshi who did all the music and vocals for other SEGA classic Daytona U.S.A.)


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    and just for you man since you are on that "songs with incredible sonics flex" PREE DIS

    was gonna pick something from this game on my list but didnt fit finding out there was a game with jungle on the soundtrack blew my fucking mind when i came across it in MAME ,theres alot of meaty guitar rock on this which was bread and butter for SNK games at the time but this shit here is the ace in the hole












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    One thing I notice about video game music (from the pre CD era) is how flat it is, texturally. It's 2D music. There's little to no sense of sound in space. As with the graphics (as they get more sophisticated), there's an increasingly rich facsimile of dimensionality, but not quite the whole thing.

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    There was that tune from a Wolverine game which preempted grime by around eight years.


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    That shock troopers is amazing

    Obligatory "Wolverine" invented grime post!


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    Those strings are a good example of that flatness. There's a bit of reverb to them but they're very artificial sounding, no attack/decay or something. And how that found it's way into grime.

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    This one always sticks out in my memory as being so exciting that I replayed the level again and again almost just to hear the music.

    Analogue to video games as sugar rush, pure pleasure.

    Obviously synths like this influenced Joker et al. But also the ADHD of it, jumping from riff to riff, hopped up on Slush Puppies wideyed in front of an arcade machine.

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    Stewart Copeland doing the Spyro soundtrack still strikes me as odd, but I'm into it.

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    It's also an example of a recurring phenomenon in music (in culture?) whereby a sound that is by necessity cheap and shitty becomes so iconic that years later people use sophisticated expensive tech to replicate it.

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