With several semesters of music theory and analysis under my belt, I’ve gathered a good understanding of how composers use various timbres to get the effects they desire in their works. Generally speaking, this is limited only by the instrumentation of an ensemble and what the performers do. In the video game industry circa-1990, “instrumentation” was essentially whatever sound producers could get out of MIDI.
Phil over at Shamoozal has a new feature up on how the revolutionary sound processor found within the Super Nintendo opened up new doors and possibilities for sound designers, who then proceeded to push that sound card to the limit as to what it could do. The result? Some of the most memorable video game soundtracks in the industry today.
You can check out that feature below. Thanks to Phil for the heads up!
