Fake electric guitar in PSG

[Arkhan]

ffs.

Tim Follin stated on numerous occasions that he doesn't even like sampled music, and the only thing he did with guitar stuff that I can recall, is the stuff in Spiderman/X Men for SNES.  

...and it sounds like cheesy porn music or something you'd hear in Shaft.  He even said it was cheesy sounding.  The best tunes in that game are the ones that aren't dicking off with guitar, like Gambit's stage.  They're in Follins typical style of upbeat dancey electronic music with nice leads and ambient noise.  It sounds like an improved SID tune.

His guitar use in that game's soundtrack is worse than the stuff in SF2 or Mystic Quest.

So, were he to do PCE, he'd most likely ignore sampling in favor of using the chip itself to his advantage like he did everywhere else (especially the NES).  and in that regard, nothing he does is guitar-y usually.  I don't think he's ever done any wailing guitar style leads like you hear in Devil's Crush.  

So quite honestly, I think if he were to get on the PCE and try to do guitar, it would sound stupid.

Bobby Prince, now there's a white dude that would make PCE guitar shit happen.  Even with goony MIDI, he brought the metal.



oh, and I don't think it's bait.   I'm pretty sure Tatsujin is 100% serious.  Follin could record the sounds made when he beats a cat against a wall and then record himself f*cking a bug zapper, and Tatsujin would call it a masterpiece.

[Digi.k]

try the intro to motor roader II  it's really the only track that I like on there and sonically it's fantastic up there with some of the best pce chip tunes... the rest of the sound tracks while they have great samples the tunes are a bit meh in the melody department..

[Tatsujin]

lol @ ark. I never stated that I really like his guitar stuff, even almost ever game had at least one or two of 'em in.
I am the flute lover, and there is where he was absolut best at.

But, if he did guitar sampled or even FM generated guitar stuff (like timetrax), then it was mostly better than the stuff from other dudes. Still doesn't mean it is great stuff, but this thread is about it.

[SuperDeadite]

What I like about Tim Failin is that his music is nice, but the games he worked on all suck. 
Like the shitiest of the shity there is.  Not his fault, but very ironic.

[Arkhan]

What I like about Tim Failin is that his music is nice, but the games he worked on all suck. 
Like the shitiest of the shity there is.  Not his fault, but very ironic.

whats even funnier, is half the time he'd be making music while the game was still being designed.  So often, the music doesn't fit the game in the slightest.

[Joe Redifer]

That's how many games are made.  Yuzo was making the music for Streets of Rage and ActRaiser, etc while they were being designed, though he'd know enough about what the game would be like to get the gist.

[spenoza]

And yet Koshiro's awesomeness guaranteed that his music fit those games perfectly. In fact, doing the music while the game is in development is a pretty standard way of doing business. Even though the game may be in development, there's a development plan of what the game is supposed to look like and what the atmosphere should be.

In fact, this problem is the main reason I am not a big fan of Amiga games. Most of the soundtracks don't fit the games at all. The music might be good by itself, but it seems to have no relationship to the game itself. Hulsbeck and Follin are both especially guilty of this. It's like they really wanted to be working in the demo scene, not making music for games.

[Tatsujin]

Everybody had to get paied for something. I myself envy them that they had the chance to do so epic stuff, even today just watched (lissened) isolated to it. Am glad they did what they did.

[Arkhan]

I'm not talking about DEVELOPMENT.

I'm talking about DESIGN.

Like, dudes sitting around trying to decide what the f*ck it is they are about to make.   

There's a difference.   A big one.

In Yuzo's, and most Japanese groups' case, the people making the game aren't f*ckups generally, and they have their shit together.  The same can't be said for a lot of the Euro-game groups.  Like Deadite pointed out, there are a lot of shit games with awesome music.

AKA: Turrican

and, you don't "work" in the demo scene, lol.   Demo scene != moneys.

The music from Hulsbeck, Galway, Tel, Daglish, etc. is what sort of established the whole "Demo scene" sound, anyway. 

Pretty much everyone ripped off Galway's leads.

[ccovell]

Follin could record himself f*cking a bug zapper...

Don't go dissin' the ZX Spectrum, man!  ;-D

[sunteam_paul]

What I like about Tim Failin is that his music is nice, but the games he worked on all suck. 
Like the shitiest of the shity there is.  Not his fault, but very ironic.

Hey, Bionic Commando on teh Speccy was really cool for its time. I really liked LED Storm as well.

[Arkhan]

LED storm is pretty dope.

I approve of that .


I still need a 128+ spectrum, so I can use it as decoration.

[fragmare]

When it comes to 16-bit era chiptune guitar, it's all about Toshiharu Yamanishi.  He's the composer of TFIV on the Genesis.  Some of the tracks in that game are so good, it's absurd.


I'd imagine, if he had the chance, he'd probably have done some funky stuff on the PCE PSG too by using LFO for FM-ish effects, but alas, he worked for Technosoft.

[spenoza]

Hrm... I wonder if you could get a keen lead guitar on the PCE using LFO. I'm curious to know what the LFO sounds like compared to regular PSG sound generation. Anyone have any good track examples that make heavy use of LFO?

[Arkhan]

no because the LFO on the PCE is not the LFO you'd think it is, and it sounds dorky.

I've toyed with it in squirrel but never liked what I did with it.  I might revisit it eventually.