Mega Man: The Sequel Wars OST - MM4 Password (YM2612)
11.1 هزار بار بازدید -
2 سال پیش
-
This is one of several
This is one of several covers, arrangements and original pieces I've written for Mega Man: The Sequel Wars, a remake/remix of the last 3 NES Mega Man games for the Sega Genesis. You can download the latest version of the game (up to Mega Man 4) on Romhacking.net (https://www.romhacking.net/homebrew/183/) or Itch.io (https://woodfrog.itch.io/mega-man-the..., and be sure to follow the game's development on its Twitter account (Twitter: MMSequelWars) or YouTube page (@sequelwars5870.
It's really quite odd—I genuinely had to wrack my brain to come up with interesting tidbits about some of Sequel Wars' multi-minute tracks for these video descriptions, but it's the 2-measure loop that has the most complex lore out of all my arrangements.
I couldn't have joined Sequel Wars at a more opportune time. Only a single week passed between my admission to the music team in January and my discovery of Furnace, a tracker that—by adding two common-sense features—instantly revolutionized my approach to FM writing. FM patch macros and linear pitch mode bridged what I falsely assumed was the permanent gap separating FM and PSG sound design, and the soundtrack gave me a ready reason to start experimenting right away. In essence, mm4_password.fur (a name tildearrow doubtlessly hears during his rougher nights) is nothing more than a frantic showcase of what Furnace could deliver over Deflemask's rudimentary feature set: punchier leads, dynamic percussion, and sounds that aimed to be as 'non-Genesis' as possible. The entire track came together in a single day, partially from the sheer adrenaline rush that comes from any new tracker, and partially because of a bugged copying mechanic that strained my arranging endurance by forcing me to mindlessly copy individual channels between patterns. Of course, 'the entire track' is something of a misnomer; Furnace's next release revealed to me that many of the 'features' I used for the song's sound design were really emulation bugs in disguise, and a lengthy reworking process, interwoven with me begging tilde to keep the program's legacy bugs, ensued. The version you're hearing right now, while almost identical to its first iteration in sound, resulted from several major changes to the module's internals; to the best of my knowledge, the 'original' module sounds absolutely awful in Furnace 0.6 (I also removed a sample of a voice saying 'Please enter your password' in Russian from this version, which a) took up too much ROM space in the game and b) nobody liked).
As for the track itself (290 words later), MM4's password hits my two covering sweet spots: short looping tracks and widely-disliked pieces. Both traits lend themselves to freer arranging styles, since I have no need to worry about parsing intricate song structures or radically altering the piece's musical DNA—if it's already topping 'worst Mega Man song' tier lists, what's the harm in going the extra compositional mile? My 'solution' to the piece was threefold: introduce the two melodic 'segments' separately to let the listener absorb their undeniable weirdness in installments (Quartal harmony? In my Capcom game?), add a bassline and some slight melodic variation to keep the piece grooving, and swap out the awkward quasi-jazz backing track for a layered, house approach. The end result is, more or less, exactly what I hoped it'd become, and I hope it helps you appreciate the musical talents of Minae Saito just a little bit more than you already did.
Module File: https://drive.google.com/file/d/1Stxg...
It's really quite odd—I genuinely had to wrack my brain to come up with interesting tidbits about some of Sequel Wars' multi-minute tracks for these video descriptions, but it's the 2-measure loop that has the most complex lore out of all my arrangements.
I couldn't have joined Sequel Wars at a more opportune time. Only a single week passed between my admission to the music team in January and my discovery of Furnace, a tracker that—by adding two common-sense features—instantly revolutionized my approach to FM writing. FM patch macros and linear pitch mode bridged what I falsely assumed was the permanent gap separating FM and PSG sound design, and the soundtrack gave me a ready reason to start experimenting right away. In essence, mm4_password.fur (a name tildearrow doubtlessly hears during his rougher nights) is nothing more than a frantic showcase of what Furnace could deliver over Deflemask's rudimentary feature set: punchier leads, dynamic percussion, and sounds that aimed to be as 'non-Genesis' as possible. The entire track came together in a single day, partially from the sheer adrenaline rush that comes from any new tracker, and partially because of a bugged copying mechanic that strained my arranging endurance by forcing me to mindlessly copy individual channels between patterns. Of course, 'the entire track' is something of a misnomer; Furnace's next release revealed to me that many of the 'features' I used for the song's sound design were really emulation bugs in disguise, and a lengthy reworking process, interwoven with me begging tilde to keep the program's legacy bugs, ensued. The version you're hearing right now, while almost identical to its first iteration in sound, resulted from several major changes to the module's internals; to the best of my knowledge, the 'original' module sounds absolutely awful in Furnace 0.6 (I also removed a sample of a voice saying 'Please enter your password' in Russian from this version, which a) took up too much ROM space in the game and b) nobody liked).
As for the track itself (290 words later), MM4's password hits my two covering sweet spots: short looping tracks and widely-disliked pieces. Both traits lend themselves to freer arranging styles, since I have no need to worry about parsing intricate song structures or radically altering the piece's musical DNA—if it's already topping 'worst Mega Man song' tier lists, what's the harm in going the extra compositional mile? My 'solution' to the piece was threefold: introduce the two melodic 'segments' separately to let the listener absorb their undeniable weirdness in installments (Quartal harmony? In my Capcom game?), add a bassline and some slight melodic variation to keep the piece grooving, and swap out the awkward quasi-jazz backing track for a layered, house approach. The end result is, more or less, exactly what I hoped it'd become, and I hope it helps you appreciate the musical talents of Minae Saito just a little bit more than you already did.
Module File: https://drive.google.com/file/d/1Stxg...
2 سال پیش
در تاریخ 1401/06/26 منتشر شده
است.
11,197
بـار بازدید شده