Considering he used to work on 8-bit chips, it both doesn't surprise me and amazes me at the same time. Looking at it from a technical perspective, the way of doing this also allows not only room for free-priority sound effects, but also the ability to allocate more processing power to the chip to use higher quality samples, since only 5 are being used instead of the usual 8. Doing so lets the samples the ability to almost emulate multiple pitches at once (shown by channel 5) and reduce the need for layering. He truly is a genius.
Tim Follin never ceases to amaze me with channel usage. Using a limited number to make room for sound effects and reducing the need for priorities, all while using high quality samples.
5 channels was around what a lot of European composers were used to working with, the Amiga had only four. The SNES’s biggest limitation was sample memory: Follin relied quite heavily on short, looping samples. Psudeo-wavetables, as I’d call them. (e.g. the guitar & low bass. the sine lead is a literal wavetable)
That guitar solo! The attention to detail is amazing for its time- you can hear the sound of the "strum" at the start of every note and the pitch bends as though it's on a real fretboard!
One thing I always notice with this track is how misleading it is once you look into it. It is faster at the start, but has a steady tempo through the whole thing once it loops. Mixing time signatures. Sounds that you don't even notice the presence unless you isolate them. The first signature change takes too many listens for you to get comfortable with. It took me about 5 hours worth of listening to the tune and to this deconstruction in order to know what was actually happening. The channel managing as well, the channels don't stick to a sound, but you never feel like they interupt each other either. Overall, this track shows how thought out the whole soundtrack actually is. 10/10, best track in the whole game and tieing with Akrilyc.
Words cannot describe the joy this deconstruction brings me! Geoff and Tim Follin made some truly fantastic music and hearing each part by itself made me appreciate one of my favourite OST's even more! Please consider more Plok/Follin deconstructions. :)
this is fascinating to hear what each channel is doing. I love how he's able to have multiple sounds at the same time on a single channel. This is especially evident in some of his 3-channel pieces (i.e. "LED Storm (ZXS 128k) - Title Theme" and "Gauntlet III - Title Theme") where he has the drumming in between the waves of the bassline on a single channel. It's extremely impressive, especially because he did this all through the code without any previous physical drafting. He's a true genius, along with his brothers.
Some of that percussion is stuff I used in my own MODs back in the day. During the golden years of the Amiga's existence, most people didn't have samplers and/or the correct equipment to make good use of them, myself included, so what happened was that the same handful of really well-done sample collections, as scavenged from landmark mods like Space Debris or soundtracks like Psygnosis' _Awesome,_ got shared among all would-be composers who really only possessed ProTracker and whatever they borrowed from preexisting work.
This is one of my favorite pieces of music of all time, and this gives me so much more appreciation for all its little intricacies. This is fascinating and beautiful here.
“How am I hearing 4 notes from 2 channels?” you ask. Neat little hack, actually. Instead of having the sample be a single note, he put in samples that were full chords, so when you program one note in the sequence, the sound consists of 3 pitches. This way, you could get as many voices of harmony as you want AND drums with only 5 channels of sound. Nobuo Uematsu also did this with a choir sound singing a major 7th chord Final Fantasy V. The only limit to this is that the chords have to move in parallel motion, so you can’t have 8 independent melodies AND a drum track, but I and most people think parallel motion sounds cool, so this gets a pass.
Yeah, But I Think that They are Great Chip, YM2612 Is Good For Techno Music As Their Waveforms Can Change Via Patches and SPC700 Is Great Making All Sorts of Song Types (Like Funky, Jazz) But The Problem is With its Limitation.
@@xVGAmusicPlayerz You only have 64 kb to work even though you have 8 channels you can use at a same time, including sound effects which share the audio ram
Since Battle Network's getting some love next year... Red or Blue from Megaman Battle Network 1 is my request! There shouldn't be too many channels iirc
TIM IT'S JUST A BEACH
TIM THIS IS A SNES YOU DON'T HAVE TO ARPEGGIATE NOTES ANYMORE
Imagine if this was done by a regular composer.
@@DerpDerp3001 It WAS a regular composer... I mean, he composed for that shitty Silver Surfer NES Game
@@frannielmartinez
>calling tim follin "regular"
@@frannielmartinez lol! He was one of the best game composers out there.
Rumor is that Shigeru Miyamoto was astonished that this was being done on just SNES hardware and nothing else.
Yeah so much so that when the game was released in Europe, *Nintendo* was the one that published it and not Tradewest here in the States
I like how a such complex track like this one can be made by using only 5 channels. Tim Follin is a genius!!
Considering he used to work on 8-bit chips, it both doesn't surprise me and amazes me at the same time. Looking at it from a technical perspective, the way of doing this also allows not only room for free-priority sound effects, but also the ability to allocate more processing power to the chip to use higher quality samples, since only 5 are being used instead of the usual 8. Doing so lets the samples the ability to almost emulate multiple pitches at once (shown by channel 5) and reduce the need for layering. He truly is a genius.
@@novaexplosion3273 he used arpeggios on channel 5 for that one bit i think
The follin brothers did that so you could hear the sound effects and the music at the same time
And don't forget Geoff Follin! I'm pretty sure he actually composed most of the Plok ost and Tim helped him a bit.
@@novaexplosion32738 bit chips? Haha, he used to work on 1 bit beepers! 😂
He's an insane tech wizard.
0:49 is an out of body experience
1:55
Tim Follin never ceases to amaze me with channel usage. Using a limited number to make room for sound effects and reducing the need for priorities, all while using high quality samples.
5 channels was around what a lot of European composers were used to working with, the Amiga had only four. The SNES’s biggest limitation was sample memory: Follin relied quite heavily on short, looping samples. Psudeo-wavetables, as I’d call them. (e.g. the guitar & low bass. the sine lead is a literal wavetable)
That guitar solo!
The attention to detail is amazing for its time- you can hear the sound of the "strum" at the start of every note and the pitch bends as though it's on a real fretboard!
I think I read that his method was to play the guitar part himself and transcribe what he played into the SNES
One thing I always notice with this track is how misleading it is once you look into it.
It is faster at the start, but has a steady tempo through the whole thing once it loops.
Mixing time signatures. Sounds that you don't even notice the presence unless you isolate them.
The first signature change takes too many listens for you to get comfortable with. It took me about 5 hours worth of listening to the tune and to this deconstruction in order to know what was actually happening. The channel managing as well, the channels don't stick to a sound, but you never feel like they interupt each other either.
Overall, this track shows how thought out the whole soundtrack actually is.
10/10, best track in the whole game and tieing with Akrilyc.
the bassline at 5:50 sounds so badass
You know a song is good when every part of it is awesome
Huh, I didn't expect the electric guitar waveform to be so simple. It's just a square wave with a small notch in it.
subtractive synthesis + single cycle loop. he basically turned the SPC into a wavetable synth lmao
it’s an imitation of a single pickup guitar with overdrive
DSP 3 is where the waveform constantly assigns itself 2:41
Words cannot describe the joy this deconstruction brings me! Geoff and Tim Follin made some truly fantastic music and hearing each part by itself made me appreciate one of my favourite OST's even more! Please consider more Plok/Follin deconstructions. :)
this is fascinating to hear what each channel is doing. I love how he's able to have multiple sounds at the same time on a single channel. This is especially evident in some of his 3-channel pieces (i.e. "LED Storm (ZXS 128k) - Title Theme" and "Gauntlet III - Title Theme") where he has the drumming in between the waves of the bassline on a single channel. It's extremely impressive, especially because he did this all through the code without any previous physical drafting. He's a true genius, along with his brothers.
Some of that percussion is stuff I used in my own MODs back in the day. During the golden years of the Amiga's existence, most people didn't have samplers and/or the correct equipment to make good use of them, myself included, so what happened was that the same handful of really well-done sample collections, as scavenged from landmark mods like Space Debris or soundtracks like Psygnosis' _Awesome,_ got shared among all would-be composers who really only possessed ProTracker and whatever they borrowed from preexisting work.
Hmm, only 5 channels. DSP 3 is killing it.
9:56 EVERYBODY NOW!!
This kinda sounds like a Past track on Sonic CD
@CreepimusGaming That's awesome
@CreepimusGaming True, 8 PCM Channels each
5:32 This part is absurdly amazing to look at. The whole song is! But the movement here looks so oddly smooth
This is one of my favorite pieces of music of all time, and this gives me so much more appreciation for all its little intricacies. This is fascinating and beautiful here.
Eargasmic, *TIM FOLLIN IS A GENIUS!*
Para de usar palavras difíceis e só fala que a música é boa meu
@jang69420 Mas em inglês não é uma palavra difícil, e o inglês é a língua mundial. Não ouviu falar, cara?
(Greetings from USA 😁)
this song rocks
Hey youre the second one here!
It progressively rocks
This has such a namco sound to it.
3:03 is where dsp 3 is a sine wave
I didn’t even notice this song had bass before! That’s a good deconstruction!
4:41 Thats in one of the time trax tracks that tim composed
Yeah true I never noticed that!
Miyamoto needs to see this just to double make sure its possible
“How am I hearing 4 notes from 2 channels?” you ask. Neat little hack, actually. Instead of having the sample be a single note, he put in samples that were full chords, so when you program one note in the sequence, the sound consists of 3 pitches. This way, you could get as many voices of harmony as you want AND drums with only 5 channels of sound. Nobuo Uematsu also did this with a choir sound singing a major 7th chord Final Fantasy V. The only limit to this is that the chords have to move in parallel motion, so you can’t have 8 independent melodies AND a drum track, but I and most people think parallel motion sounds cool, so this gets a pass.
And he didn't even use all the channels??
Probably others left for sound effects
@@recklesflam1ngo968 yep because who wants to hear cartoon sound effects over the bass/percussion?
@@nyancat.123more like “Who wants the game to mute the bass and percussion so it can play cartoony sound effects?”
He's not even using his full power.
Tim Follin composed this in a cave! With a box of scraps!
Fact: Some good shit right there! Underated SNES Gem!
5:48 Best Section 😃
Woah, i watched the entire video, guess you deserve a new sub!
Hey man, would you mind doing the Boss theme to this game? That would be awesome! Thanks.
Never heard it, but MAN is it good.
Nice oscilloscope view of the song!😄🤩😎👌
Sounds really interesting broken up like this!
Just Awesome 0:49
Could you do Plok Boss next?
Yeah!
from the future: he did but you must wait 4 years
0:00 My only favorite
YEEEESSS FINALY!!!
THANKS YOU!
DO THE WHOLE OST I BEG OF YOU
A samplers wet dream
siivagunner
I'VE BEEN DIDDLED AGAIN!
i wonder what synth settings they used to create that guitar patch
Me on drugs
3! = 6
4! = 24
5! = 120
Nice
Hey can you do panic puppet zone act 1 from Sonic 3d blast?
can you upload Plok - Akrillic - Oscilloscope Deconstruction please?
Me encantan tus videos solo por que desaces las canciones jaja sera que podrías hacerle el soundtrack del jefe
I want the extended version with only DSP 4 and 5.. 0:49
Same!
Can you do death egg zone act 1 from Sonic and Knuckles but it gets lower every second loop?
Sony SPC-700
Even if its a Sample-Based chip, still the best!
(I mean yeah but in my opinion the YM2612 (Which is a FM-Synthesis Chip) is better)
You can turn FMs into samples. But you'd eat up the SNES's ram quite some
Yeah, But I Think that They are Great Chip, YM2612 Is Good For Techno Music As Their Waveforms Can Change Via Patches and SPC700 Is Great Making All Sorts of Song Types (Like Funky, Jazz) But The Problem is With its Limitation.
@@xVGAmusicPlayerz A lot of SNES games share the same instruments (Think of that slap bass you hear in early SNES games)
@@FigureFarter yeah
@@xVGAmusicPlayerz You only have 64 kb to work even though you have 8 channels you can use at a same time, including sound effects which share the audio ram
Since Battle Network's getting some love next year...
Red or Blue from Megaman Battle Network 1 is my request! There shouldn't be too many channels iirc
Please tell me how to make the guitar sound with an average synth someone please
Geoff Follin es un genio de la música
Do Akrillic PLEASE
it's missing most of the instruments?
No it intentionally uses just 5 channels.
First! I WIN!
You win nothing but the annoyance of others and the *privilege* of being first in a non existent race
Crisps thanks
@@CrispsCrispulent he won chicken.
mario Panic94 lolz he won a pretty lame game
@@CrispsCrispulentNah I don't find the lil guy's comment annoying...
You are😊