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LurkerFAQs, Active Database ( 12.31.2018-present ), DB1, DB2, DB3, DB4, Clear


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Posts: 97
Last Post: 11:44:48am, 07/11/2019
Game: Blast Corps
Title: Cromlech Court
Composer: Graeme Norgate
Nominator: AndywoodCubeGmr

This one's almost entirely this high because of "whoa 90s"

I'm way pickier about N64 music than pretty much every other major format for sequenced/chiptune music I think, even within sample-based ones...SNES/amiga/midi/gba/etc all _COnsiSTEntly appeal to me more than n64 music, it's regularly hard for me to find n64 music I like. It's weird because I LIKE sample-based music more than beepy psg chiptunes, but n64 just frequently does everything the wrong way for me to the point where I won't want to even play entire n64 games because of it

There's some reasons for that (although n64 is /technically/ more unlimited than like snes, no concrete channel/polyphony limitations/etc, n64's limitations are more about having to compete with processing power to exist in the game with the graphics/etc. snes didn't have that limitation since music was all self-contained on a soundchip meant to handle sound specifically, so it was ironically, far more likely to have fuller and more musically/timbrally/etc complex stuff, even if its limitations were more concretely restrictive with an upper ceiling. On n64 composers were afraid to / more restricted from having anything that's musically or sound-design-wise complex or detailed, compared to even the entire previous generation of consoles. Obviously there's exceptions, but in most cases I think this is why I have a hard time appreciating n64 music...compared to any other system, the limitations impact the ability to BE musically interesting or full sounding, even nes music was way more likely to do adventurous things because it was self-contained so composers weren't as often afraid/limited from doing stuff that interests me. Technically this "software-mixed format limitation rather than hardware limitation making the music compete with the rest of the game for processing power and causing limitations in places where it shouldn't despite technically being more advanced than stuff before it" situation applies to other things too like gba, but I'm much more fond of the way it manifests there (extremely low quality crunchy samples and other weird workarounds usually are an effect I specifically LIKE about gba music))

ANYWAYS, this kind of feels like "the things I don't really like about my vision of the stereotype of n64 music", has the same musically mechanical feeling as the specific Need For Madness 2 tracks I ranked really low BUT DESpite all OF THOSE ISSUES I manage to have an overall positive response to it

I'm pretty fond of the samples here basically. I may not like how compositionally mechanical it feels, but instrumentationally I think it's actually extremely cool. All these clicking and metallic sounds really make this for me. I think I recognize a lot of these samples from specific other pieces of music from this period that I ENJOY and pretty sure I know what 90s synths they originate from (80s-90s synths/samples and where synth sounds originate from is one of my biggest interests)

Musically, I really like the chord changes at a lot of points, I didn't think I would at first (the beginning kinda feels like..."music by some kid on newgrounds that doesn't know what they're doing" to me, though at the same time I kind of specifically like that about it) but once it gets to :36 it starts to do a lot of sudden switching between major/minor 3rds and that emotionally moves me a lot more, especially since the melody highlights that difference

all the DARK chromatic upwards stuff speaks to me, especially on that hit sample at around 1:22 and everything else basing its composition around what that does. a type of tension I enjoy, that section's especially cool because all the mechanical samples from the start of the track start to come back in again and the effect that has on me is WHOA [evil machine]cool

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