We have changed the rules about submitting to us here at SNESology. It is much more laid back now. We realize there is already a lot of content out there and there are artists that want to title and tag their content in such a way that gives them more exposure. We still want a youtube video and hopefully a download link and if you want to really affiliate with us, that would be cool too!
Although we want SNESology to build into a fun “go to” place for new SNES music, that’s not really going to be fully realized until we can host the music submitted to us with our very own website. So for now, let’s keep on building!
Alex Roe keeps on giving us more covers from The Legend of Zelda: A Link Between Worlds using A Link to the Past’s sounds and covers the track ‘Treacherous Tower’. And for anyone that doesn’t know, that song is an arrangement of the awesome dark world dungeon music from A Link to the Past!
Alex Roe has done a cover of the song ‘Mother Maiamai’ from The Legend of Zelda: A Link Between Worlds using A Link to the Past’s soundset. Hopefully there will be some more of the game’s standout tunes retrograded in the same fashion!
We have had some interest from artists recently about submitting more music so hopefully there will be more to come soon. Also we might be changing up the rules for submission again as they do seem a little strict about how you want to get your stuff noticed so we’ll post up when there’s a change to that. If you have any thoughts on that, please send us a message or an email!
You can email us at SNESology@gmail.com
What is your process for capturing samples? I am assuming that you isolate tracks in an spc, dump them to wav, and then cut out what you like. For instruments, do you aim to have the samples be a particular note? Are there any guidelines to pitch-shifting instrument samples so they don't distort, or is that not an issue?
We have gone through several methods. Currently we have been using a program called SPCTool which is useful for finding every sound from a game and can sometimes pull all of the games sounds from one track of the spc. SPCTool also gives good readouts on details like a channel’s amount of echo. Then we dump the spc to wav, import into Kontakt and start tweaking from there. Usually a sample is dumped to the pitch of the middle C but if it is not we usually make it do so unless the range of the instrument was used at a higher or lower pitch more frequently. Also every sample is “pitch shifted”, this is something you cannot avoid. This is why certain instruments are usually only heard between a certain range of pitches because they were created to sound best in that range.
I think many people ask you this, but what program are you using when you remake these songs using the soundsets of the old consoles? Any program you would recommend?
I myself use FLStudio and insert Kontakt or use soundfonts and compose that way. There are many other DAW sequencers that can do this and depending on what you want from them they usually come down to preference. FLStudio is just very easy to write with and has an excellent demo.
Hey there, my name is Daniel. I'm a not-at-all well-known acquaintance of Shannon Mason and Dave Harris. I am also an amateur composer, with a primary interest in SNES RPG-styled music. I'm interested in getting more info on submission requirements using soundfonts. For instance, do VST reverb and delay count toward the 8-voice polyphony limit? How much processing (ie. EQ, compression, etc) is allowed on individual samples? That sort of thing. Thanks a lot! -Daniel Joseph
The delay effect you hear in SNES music can be one of two things.
One is that especially later on in the life of the console, many games used the chip’s DSP in order to apply a delayed effect to a channel. This delay is very short and not very powerful and best simulated with a delay effect rather than a reverb.
Secondly especially earlier in the life of the console it was actually done in the arrangement. This could be done in a couple of ways. Imagine a piano melody as one channel, now you can make a delay effect using midi or a second channel. With a second channel, copy the piano melody and move it slightly ahead of the first melody (like a 16th of a beat) and lower the volume, this will give that impression. To do it in the same channel you can create several notes that go lower in velocity, this is very effective with a staccato instrument like a pizzicato or a trumpet but it works on most instruments. Also you can automate the volume of your channel to dip in increments so a long note can appear to be moving away like a reverb effect, this doesn’t always work how you’d like it to but can be effective.
How can I send you money. That SNESology jam is too good to be free. I refuse to not pay for it.
By SNESology jam I’m assuming you mean the one by the artist Shnabubula? If so, I’d suggest asking him if you could donate to him on his facebook https://www.facebook.com/Shnabubula since he doesn’t have pay what you want options. We won’t take money on behalf of any artist, you’ll have to directly contact the artist or find an outlet of theirs in which to do so.
I have Kontakt 5, and the Secret of Evermore sample, but I have no idea how to use it to make music.I dragged the instruments to the program which allows me to use them individually, but I can't figure out how to actually start composing.
Are you using Kontakt as a VST in a music sequencer such as Cubase, FLStudio or something like that? Opening Kontakt on its own will not allow you to compose, only to create and use samples. In order to compose you need to get a sequencer, open up the VST with the instructions from the ReadMe and then you’ll be good to go. As far as using a sequencer you’ll have to find out how to use one from other tutorials and the like.
How do I make my own SNES music if I have a Mac?
Unfortunately I don’t know much about Macs. I assume you can still use all the same soundfonts and even our own libraries with a music sequencer like Cubase, Ablteon, FLStudio etc. That’s something you’ll have to decide on yourself though because as far as Macs are concerned I don’t know which music sequencers they support.
The talented Kyo has already submitted a couple of boss style songs to us which were very good. He then asked for support to make an SNES boss battles album (which I hope he’ll submit some of it here!) through his own site. Not long ago he created a kickstarter for it and has successfully gathered the funds to write and release it. It’s awesome news but we want you to check it out in its last stride which currently has less than 3 days to go. The more that gets pledged the more he will write!
Kyo also provided an update to his Chrono Trigger boss battle song, some relatively minor tweaks but they’re noticeably for the better. Now imagine a new boss battle track from games like Secret of Mana and Zelda, that’s what you’ll get!
Good evening all. There’s been a bit of down time lately, lots of real life things going on and all. I haven’t had much time to give to SNESology or much write music but I wanted to get something out before the end of the year.
If you’ve been listening to SNES Generation, then you’ve heard all of the tracks on this already. However as an album it’s a great way to share and get more people to listen. So if you have some SNEScentric friends then share on! If it goes on to do well, I very much would like to do a Volume 2 of more remixes. Happy listening, stay tuned for more SNESology!
Meteo Xavier last did a pretty awesome job with a Chrono Trigger meets Final Fantasy song and returns with something more personal using the Secret of Evermore soundset. I think it’s great to hear something unique and true to the artist using a game that relates to their history and surroundings.
Meteo writes “While it’s definitely not an uplifting track, it’s not meant to be sad either. It’s designed to be very haunting and provides cerebral images of a wet thicket with mist and multicolored leaves surrounding you as you hike your way through the city and mountains. There is a touch of bittersweet as we all wish this season could last longer, but it never does. Still, at the end is the sunlight coming through the mist, and the season will return again as it always has. Enjoy!”
Personally I’d love to hear more stuff like this from people, it’s great to hear songs inspired by the games they love but using them for more personal reasons that really puts it in its own light.
The Youtube links may have gone but Shnabubula has re-released his album ‘SNESology’ with “18 minutes of new bonus material”. It goes without saying that if you haven’t heard it yet, it is essential listening from the man that started this whole idea.
The Final Fantasy VI love is strong and so it should be. Zack Parrish rides the winds again with his own airship theme which is joyous, catchy and worth your attention.
Everything you’d expect from a song like this is there and more, soaring high and low with all the emotions you’d want from it. Thanks again Zack, keep’em coming!
Alex Roe is back with an original song using The Adventures of Batman and Robin soundset. Feels weird speaking in the third person, I’m Alex and for a couple of weeks now I’ve taken over the reigns of SNESology. So, hi! Let’s keep making SNESology get better and better!
The Adventures of Batman and Robin was one of my favourite SNES games and it just had amazing music. It’s an energetic “fight” piece that uses some of the theme from the animated series as well, which the game did too. I thought I’d use video from the last level of the game since it seem to fit well. Thanks for listening.
You can use the samples from this game and many others using our Kontakt soundsets which you can find here. Try’em out and if you fancy submitting to SNESology then please check out the Rules for Submission!
Watch out tomorrow for another Final Fantasy VI original!