While entertaining, I must admit I don't find Jaru's theories compelling myself either. However I really have to say that I hate the tone of this video, and the constant assurance that this isn't a hate video only feels like a bandaid fix to a script with a very harsh, negative, and rude tone. You shouldn't need to clarify so often that it's not a hate video, rather it should come through in the presentation of how you're disagreeing. You can disagree with theories respectfully, in fact Snarlinger disagreed with Jaru with a video of his own as well, but the tonal differences are very clear. Pitching up Jaru's voice to make him sound less serious, animating a game show to take jabs at him, being way too emphatic about how bullshit his ideas are, etc. Also trying to make him seem weird by saying things like "you just did an incest between children!" when Toby Fox's intention with Ralsei's portrayal is obviously meant to put the idea in players' minds that Ralsei is Asriel (even if he's not)... If I'm being honest I simply don't believe you when you say this is nothing more than a difference in views on Deltarune. This feels unnecessarily aggressive and I really hope you fix your tone if you ever make videos like this again, since it's almost unbearable to even finish the video.

I wouldn't be surprised if there's a chapter where we can't actually go back home, and that would be the only instance of this song not showing in the ost

_Talk about _*_chimming_*_ in_ Joke aside, Undertale also has faster and slower songs, i think remembering that the song that plays when you fall in Waterfall as well as other places ("Determination" iirc?) is never played at the same speed in the whole game

Bro i was about to have a heart attack when i looked at the thumbnail

Ralsei is a counterpart of toriel and not asriel because toby wants us to think he is counterpart of asriel that's toby made his name an anagram of asriel

18:02 what about the genocide music? Doesn't that slow down via the game code?

I get the impression that Toby thinks a lot about pacing, how each moment flows into the next, etc. when making his games, and I think this carries over to the soundtracks as well. He doesn't just add every track sequentially; he thinks about how to order them in a way that makes for a complete and satisfying listening experience, one that elicits the same response as playing the game. Take "Long Elevator", which provides a moment of silence and reflection leading into one of the most emotional moments, making its inclusion in both the game and the soundtrack feel very purposeful. Or "Ohhhhohohoho!", which captures the humor of Queen's introduction and establishes the tone of Chapter 2, hence its inclusion on the soundtrack. All that to say, the inclusion of "You Can Always Come Home" feels purposeful as well. Exploring Hometown and sealing the fountain are things we've already experienced in Chapter 1, and don't particularly define the experience of Chapter 2... But the experience of seeing Kris dive out the window without their soul, being comforted by "You Can Always Come Home" as it fades back in, continuing to play as Kris and Susie watch TV, dreading whatever Kris is planning to do next... That feels like a really important "emotional beat" that Toby wanted to capture in the soundtrack. Basically I don't think Toby sets hard rules for himself, and instead goes for what he thinks would make the best experience.

Maybe big shots file is a “Work in progresss” because the NEO body was itself a “Work in progress”

You can always come home is on both soundtracks because you can always come home

I'm like 300% sure the chime right at the start of "The Door" is just an artifact of trying to make the song loop, I do that sometimes while working on my game, basically you want the melody to finish satisfyingly with a last note, but you can't really do that when you want it to loop, so you just make it the first note right at the start of the song so when it loops the song restarts but you also have that little last note you wanted without having to make a separate audio file for the loop

... no, it's an objective fact that Darkners are objects brought to life, and Dark Worlds are enclosed spaces turned into their own worlds (like pocket dimensions and shit) "Oh, but how do they have memories from before their chapters?" They don't, these are fake memories created to make the Dark World more real, often based on how the object was used (all the connections between Spamton and Noelle from the Swepstakes as an example) We literally start the 2nd chapter by bringing junk from the old classroom to the closet, which turns into characters from CH1 after entering it Also the fact that in CH1 Ralsei literally says that a new fountain was opened just recently, which means that Lancer's world didn't exist few days ago (because without fountain, there's no Dark World), but they still behave like they were there for years if not forever "Wait, but who said that the Dark World doesn't exist without a fountain?" The game! Beginning of Ch2: Susie: ".. but, uh, what happened, uh, to Lancer's castle?" Lancer: "Alllll gone!" Susie: "Gone?" Ralsei: "Right... When Kirs sealed the fountain, that "Dark World" Disappeared... And turned back into a normal classroom." Lancer's dad's WHOLE reason for being the bad guy, was that "the lightners used to visit them a lot, but for a while they've been abandoned", and the Dark World is in an abandoned, closed classroom, where kids used to play in, but don't anymore His grievances are literally dependent on the CH1 Dark World and the abandoned classroom being one and the same! On a a separate note, I do think it's funny how you both are downplaying Ralsei's connection to Asriel, and saying it's somehow asinine to compare them, when he is LITERALLY NAMED AFTER HIM (and outside of the narrative, Ralsei was morphed into what Asriel was in Undertale) That scene WAS 100% Noelle comparing Ralsei to Asriel, and additionally in Kris's house Susie said that Ralsei looks like Toriel so they could just "pass him off as a cousin if anybody asked" So if you guys genuinely think that this is "Implying InCeSt", then Toby is actually the one who's doing the problematic

17:30 it's all done in gamemaker, and you can figure out how much they're pitched and slowed by putting both versions in an audio editor, like audacity, or any daw, and pitching it down/up until they align

For a good second I was like “why does the playlist on their channel only have the first part? The second part is right in the recommended!” Only to see that it was a collab and that Kooki made the second part.

My favorite fact about toby messing with song pitches is that the song Fallen Down in undertale plays at 3 different pitches, depending on the situation. And if I remember correctly, none of them match the “official” pitch

Honestly, my first guess as to why You Can Always Come Home is in the Chapter 2 OST would be that it'd be kinda weird to have the last song before the credits song being Chill Jailbreak Alarm To Study And Relax To. I think it's probably a mix of that and thematic importance, since family and Kris' relationship to their family is a huge part of Deltarune. (Also the joke part of it as well, You Can Always Find It On The OST)

13:40 maybe so that the loop sounds better

9:40 I think I noticed this difference before when I was watching a deltarune vid and heard no voices in the background

Carpet

You don't seem to understand exactly how music distribition and video game music works. A lot of this can either be purely coincidental or accidental. I see no reason to believe this is as deep as any of you make it regardless of it being Toby Fox. He would have a far more reasonable way to hide mysteries and secrets.

You can calculate the percentage of difference by putting a metronome on top of the trqck and find the twmpo by ear, and then compare the percentage between both speeds you found :)

If I had to guess. If you were to listen to the Deltarune Soundtrack from Chapter 2 in isolation and try to imagine the chapter playing out in your head, you wouldn't know that the Chapter ends in Toriel's House at all. Perhaps Toby was considerate of that and included all the soundtracks that could be used to organically convey the chapter's story. Imagine say hypothetically an orchestral version of Deltarune: Chapter 2 wouldn't inlcude "You can always Come Home" it would transition from ".sans" to "Until Next Time", which would be very confusing in it's absense.

The reason there's a melody note at the start of The Door is so it can loop properly cause without it the melody would just cut off.

Both soundtracks end with the same songs. You Can Always Come Home, a variation of Don't Forget, and Before The Story. It reinforces the fact that there's only one ending. You know, the thing Toby has said about the game. It applies to the soundtrack to. That's what i first thought when i noticed them being on both soundtracks. Also it ends with Before The Story, almost like there's a timeloop that takes you to before the story. Jaru was right sorry.

0:08 Thanks for not being Alex Yard

i know exactly what's going on with "the door!" so in fl studio, the daw toby uses, when you export audio, there are three settings you can choose from regarding the bits of audio at the end of the render like the release and reverb, or the "remainder," as it's called. one is "leave remainder," which just lets the remainder play out at the end. another is "cut remainder," which abruptly ends the audio before the remainder can play. lastly, and most importantly for this explanation, is "wrap remainder," which takes the remainder and plays it at the beginning. this last one in particular is really good for seamless looping, which is something that you'd really want for background music. normally with this setting, the remainder is so subtle that you can barely hear it if you aren't looking for it, yet without it, you can tell the loop feels more abrupt than it should. it seems that for this song, toby rendered the audio with "wrap remainder," and that weird chime that plays at the beginning is just an artifact from what would normally be the end of the audio. the reason why you can hear it is simple: "the door" is a quiet song, and the chimes, which are louder than the synths, have a lot of reverb. for the soundtrack, he rerendered the audio using, if i recall correctly, "cut remainder," which is an odd decision in my opinion, as i would have done "leave remainder," and he did do that for undertale's soundtrack and probably some songs in deltarune's soundtracks too, but whatever. tl;dr: the extra chime at the beginning of "the door" in-game is a weird artifact caused by toby trying to make seamlessly looping audio.

I guess you could say you went under (ground). Jokes aside this was very very interesting. Also some of these in game files names confuse me.

Ch3 is going to be great but I did not want to hear the number

Both Before the Story and You Can Always Come Home have Once Upon a Time. Maybe that’s it?

the only extensive discussion i've seen about pitch in utdr is regarding death by glamour's in-game vs ost version. i believe in-game it's pitched down 5%. personally the difference sticks out like a sore thumb, and i feel like it gives the song a darker and more dramatic tone. i really appreciate toby's version tweaks. in-game serves to assimilate you in the game, and ost serves to be extensively listenable, even if i do tend to prefer the in-game versions anyway...

13:58 I have a pretty decent guess for why that chime exists in the in game version! I can’t confirm atm that this is true, but it’s likely for the purpose of looping smoothly. Those chimes end the track right before the loop point to where that initial chime would be the “downbeat.” So, to make it loop at intended with a smaller file size, he included it in the beginning of the track. He would have made a different render for the soundtrack version to not include it at the beginning, but include it for the second loop!

Before the story is probably there becouse it was not on the ch1 release bit is thechnically in ch1 now?

I think You Can Always Come Home repeats because the song is more relevant in Chapter 2, but also appears in Chapter 1. Like, Chapter 2 easily has the more important scene with it. I think the intention might be that since the song has that increased importance in Chapter 2, players are more likely to remember it FROM Chapter 2 and look for it in there, forgetting it already appeared because again, the cinematic it plays in is more important and significantly longer. If you don't take your time, you don't even hear it for that long in Chapter 1. Chapter 3 also takes place in the Home so it could be setup for that, but I'm much shakier on that reasoning.

Sometimes I change music in files of game and it's noticeable that's some tracks I added are slowed down or speed up.

so maybe you can always come home is on their because chapter 3 starts with a song based off of it since the darkworld is in your home? he just wanted to be their to strengthen the connection??

The song "sans." Is also in both chapters 1 and 2 soundtracks

The You can ALWAYS go Home track is obviously in both soundtrack a because if it wasn't You couldn't ALWAYS go home :v

Maybe only the tracks that appear in ALL chapters are shared between soundtracks? You have to come home to sleep in order to end the chapter, and use the menu to start anyway, sooo...... ¯\_(-_-)_/¯

Some Undertale song are sped up and slowed down from the OST versions as well - off the top of my head, ASGORE is pitched up by half a semitone.

(very off topic to the video itself but) dude sounds like ronaldo from steven universe lmao

Instead of crawling through the code, why not go to the point in game where the song plays and record the audio from that?

Lore of Deltarune's Musical Madness!!! Momentum 100

You can ALWAY come home

Maybe Toby needed a different length for the scenes to end more in line with the songs

No one has mentioned it yet but with the whole “coding music to make it sound different in game” was also in undertale with the track “So cold” (snowy) when you fight snowdrakes mom in truelab. Meaning you can insert any track you want into that code to get that same glitchy effect

The Door thing is definitely to make the loop sound nicer, I'd think

Fun fact! Before the story was first publicly shown in the PS4 Undertale Home Screen theme

I think you can always come home is in the ch 2 soundtrack is because the next dark fountain is there and it’s going to use the hell out of that light-motif and it’s there so it’ll be at the top of our memory when we listen to ch 2 music to ready us for ch 3

For big shot maybe the end one and spamton talking but its not apart of the song but thstd imply the secret time isnt him talking and it is the song!? But then nevermind im not good at this

"deltarune musical madness" sounds like a fnf mod