Lord of the Rings has a non-encapsulated audio engine and is therefore undumpable not sure of the details. The result is that several tracks are undumpable in SPC format. As far as I know it's the only commercial game that did that, unless you count the intro to Tales of Phantasia. They had a streaming engine, where they'd switch out instruments while the track was playing. Flight of the Zinger and Bayou Boogie are awesome though. Most people gush over Stickerbrush Symphony and Forest Interlude, but I never liked how "bubbly" they are considering the setting, although the haunted forest levels are a bit comical (of course, the whole game is with its concept and art style). It really goes well with the atmosphere of the levels, like how the music for the water levels is earie and the music for the mill levels is lighthearted. I actually really like the music in DKC3, even if most people don't. David Wise is listed in the credits, but from my understanding, he didn't really do much of anything for this game.
According to this, she composed and arranged:Īccording to this, she also single-handedly made all of DKC3's soundtrack.
LETHAL ENFORCERS SNES SOUNDTEST HOW TO
Sumez wrote:David Wise really knew how to make the SNES soundchip purr, like almost no other.Įveline Novakovic did some of the songs for DKC. It's definitely another thing David Wise did really well. I woudn't be surprised if a lot of SNES musicians weren't too familiar with this concept. Certain instruments will work better than others, and electronic/synthetic music is always easier to get the right sound out of.Īnd of course, just like when you are mixing your tracks in "actual" music production, I'm sure you want to prevent the frequencies of multiple instruments to clash with eachother. No matter the sample rate, there are just some sounds that will never come out well on a SNES, especially for the purpose of playing music. One thing I always suspected is that the constant attempt to make something that sounds like real instruments tended to backfire a lot on developers. Tim Follin is another really fine example - although I much prefer his NES soundtracks, the music in Plok sounds remarkably clear compared to almost every other SNES game. So it's definitely possible to go beyond what people usually expect from this machine. This would be really cool for someone to look into, I haven't seen a lot of writing on this subject, and as Espozo already pointed out, David Wise really knew how to make the SNES soundchip purr, like almost no other. Also, although it sounds like shit, the SFC port of Undercover Cops blows my mind for having so many sound samples that need to be played at the same time even if they are terrible. I'm assuming the disparity in instrument quality in songs has more to do with space than how the instruments themselves sound, unless there are some instruments that aren't as impacted by lower sample rates or Gaussian filtering. Ironically, if you listen to Rendering Ranger R2, the guitar sounds sound almost exactly like the ones from the Roland SC55 while some of the others are shit-tier (Stage 2's music will make your ears bleed). It's really dependent on what instruments are being used for each song, as while I love both Nuts and Bolts and Big Boss Blues, the guitar sound samples are of noticeably less quality than the rest for whatever reason. The Donkey Kong Country games all sound very good for the most part, but a few songs like Gangplank Galleon, Bayou Boogie, and Rockface Rumble sound nearly CD quality.
I've already said that I think the Genesis for the most part sounds better (I'll take the tinnier noise over the ultra muffled fare of the SNES) but there are a few games that actually manage to sound very clear and have me wondering how they could have fit all the sound data into the puny 64KB of audio ram.
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