Composition ~ “You’re going to what with a what?”

This blog has had a bit of an extended break, but things are finally starting to take shape.

I thought I’d take a moment to describe the product I’ll be making for my project. It’s going to be a EP; a CD containing three tracks that act as a proof of concept for my hypothesis. I’m aiming to showcase three different ways to utilize the audio circuitry in game hardware in a more traditional music production process, as if it were a single instrument. Like a rack synth, or a unique keyboard like a DX-7 or Juno, for example. For the record, I’ll be using my trusty Sega Mega Drive for the project, for personal reasons as well as technical. More on that at a later date, though.

But what should those three tracks be? Initially, I thought about composing three original songs, but it occurred to me later that perhaps a cover or two might help to better illustrate my ideas. If the core song is familiar, it will allow the listener to more easily judge the music on its own unique instrumentation. Eventually, I settled on recording two cover tracks and an original piece.

I’ll reveal the songs in the coming weeks once they approach a more presentable state. For now I’ll lay out my plans for each track and what I hope they succeed in getting across.

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Track 1 – Backing

My first idea was using the hardware to create a backing track I could build upon with other instruments, mainly guitar and drums. Dreamy synth pads, smooth/crunchy bass, keyboard-esque supporting chords – filling in the spaces that the lead and percussion leave behind. The Mega Drive’s FM synthesis capabilities make it perfect for the task!

Track 2 – Lead

Thinking about it a little more, I also wanted to give the hardware a chance to stand out in front in a lead role. Toying around with it in the past, I’ve managed to get some crazy, gritty tones out of the YM2612, some of which I put on display in my Advanced Recording Project a few months ago (I’ll embed it below). However, it’s also capable of some quite beautiful timbres – it can pump out some gorgeous organ tones, certainly. It would be interesting if I could base a track on balancing the two extremes…

Track 3 – Percussion

Another thing that got me thinking looking at the Mega Drive’s capabilities is the amount of sound channels it has to work with: six FM synthesis channels that can play concurrently, as well as four PSG (Programmable Signal Generator) channels that can be configured in various ways. The numbers gave me pause for thought, and then it hit me – drums! Kick, snare, toms, crash and ride cymbals…perhaps I could make a track using the Mega Drive as a drum machine? It could be argued that this counts as “backing,” but given I’m restricting its use to the role of a single instrument, I think it could work conceptually. It would probably be the easiest idea to craft an original song around, too.

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So, we have a bit of structure. Later in the week, I hope to take a look at the Mega Drive itself and talk about all the wonderful (and occasionally, not so wonderful) noises it can produce.

In the meantime, here’s the reinterpretation track I produced for my earlier assignment:

I was pretty heavy into Soundgarden when I was younger, so choosing Black Hole Sun was a no-brainer. I’m still pretty inexperienced when it comes to chiptune, but I think it came out quite well. I do want to revisit it at some point in the future, though.

Since it’s a reinterpretation, I approached it like I would a composer who had to rework a song within the limitations of old game hardware. Instead of trying to emulate the original song outright, I imagined it had been licensed for use in an action or shooting game. I didn’t realize it when I was making it, but I’ve actually divided it into three neat little concepts. The beginning gives off the air of a prologue cutscene/demo, setting the scene. Then, the main body hits hard, fast and loud – the backing track to some insane 2D shooting action.

The ending reminds me of a game over/continue jingle – it has that “hope after despair” feel to it. It kind of irritates me now. Perhaps it’s because I wanted the track to be longer, or it could also be the PSG. It takes a bit of work to get it to work well with the FM instruments.

Anyway, that’s enough for now. Until next time!

Prologue ~ (A sort of) BRAVE MAN, (not so) FAR AWAY

A post to set the stage.

This blog has two purposes. The first, and most current, is to act as a record of the progress I’m making on my creative project unit for my audio production course. The project is centered around using the sound circuitry of vintage video game and computer hardware in audio production, specifically in a studio environment. Game hardware of old produced unique – I’d even say unforgettable – sounds and timbres, and I’m interested to see if they could be utilized in the same way as one would use a dedicated synthesizer, keyboard or drum machine.

I’ve made a few forays into chiptune composition before this. I love working within the limitations of a chip, creating a self-contained symphony of oscillating magic. But I’m curious to see if one could harmonize a console’s sound with other, more traditional instruments – even the human voice. Could a console’s unique sound stand up to more traditional production techniques? Could it stand alongside acoustic instruments after being fed through EQ and a series of effects such as compressors and reverb?

Comments and suggestions any readers may have along the way are more than welcome. Whether I find something new, or find I’m late to the party, I hope to take away knowledge I can put to use in my personal projects, and perhaps future work.

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After my project is over and done with, this blog will probably switch to its other purpose. A more personal focus. Ideally, it will be a place where I can think out loud and figure out what it is about these electric voices that captures my fascination. More honestly, it will be me babbling about vidcon tunes that I love, and posting any music that falls out of me.

Hell, why not? Let’s start now!

This is the soundtrack for Tatsujin (Master) – Truxton outside Japan, composed by Masahiro Yuge. Developed in 1988 by Toaplan, this is the first shooting game (STG or shmup, if you prefer) I remember playing. A Truxton machine lived in the far rear corner of a dingy arcade I used to go to every Sunday when I was small. I never left it stand dormant. Not once. It didn’t matter that I was terrible at it and could barely get past the first boss. I just loved everything about the game – the graphics, the design, but most of all the music and sound effects. I always had to hear the music, if only for a little while.

Sadly, that arcade closed down many years ago, the machines scattered to parts unknown, or worse. It wasn’t until I was a young adult and the internet was around that I found Truxton again, but as soon as I heard those opening bars I may as well have been standing in that dark arcade again. I was also able to find the soundtrack, allowing me to hear the music I missed out on hearing thanks to a few nasty stray bullets.

The first track, “Brave Man ~ Far Away,” was seared into my brain the first time I heard it. The staccato bass stands alone for a bar before the percussion and mid-range sounds kick in, quickly building up to a crescendo as your ship soars into space. The main section kicks in afterward, with Toaplan’s signature “octave bass” acting as solid ground for the main melody to stand on. The percussion is interesting – there is a kick drum and snare in there somewhere, but the main time-keeping seems to be left to the hi-hat, ticking away at the forefront. This is perfect music for a first stage – an entry theme for a lone starfighter. A heroic fanfare to send you on your way, followed by a theme that wavers between heroic and uncertain.

The rest of the soundtrack follows the same theme, it seems. All of the tracks remind you that, yes, while you may be in a powerful ship with all guns blazing, you’re still soaring head-first into the unknown. The one other track I always remembered, however, bucks this trend somewhat. “Down Fall” plays while you enter your initials on the high-score table, and it lingers somewhere between a dirge and a hymn. I always hold off on entering my last initial so it can finish playing.

The sound here is produced by a chip called the YM3812, or “OPL2”, an FM synthesis chip designed and produced by Yamaha (be forewarned, I love FM synth). FM synth has a very identifiable sound, often producing metallic-sounding tones. It’s also very good at reproducing organ-like sounds, and of course, FM bass is instantly recognizable. A lot of the instruments Truxton uses have a sharp edge to them – even the bass has a subtle growl to it. Yet listening to it now, it manages to sound gentle at times, especially in “Down Fall.”

This is probably the soundtrack that seeded an interest in music in my mind, thinking about it now. The fact that I’d keep putting money into that machine years back just to hear this sound is probably proof enough. It probably goes without saying that this isn’t the last time Toaplan will make an appearance here, either!