How to Make SNES Music (in 1995)

[@davidoli]

Fortunately now we can make music for the SNES with a tracker-like editor using Furnace. It basically made Deflemask obsolete, it supports so many chips and systems it's incredible.

[@LavaCreeperPeople]

yup! I'm having fun creating the most ear piercing, incoherent music possible using random samples and soundfonts on old sound-chips xD

[@neilbiggin]

This is fantastic. i reckon about 99% of this is completely new to me and I wrote music and effects for SNES. The sax on the final piece is superb. What an educational resource this is.

[@AWISECROW]

It's awesome Neil.

[@sonjaadamson1714]

Dean Evans and the Follin brothers have definitely got to be my most favourite SNES composers. TMNT 4's SNES soundtrack is a fucking banger as well.

[@newdykung6775]

Finally some recognition from these legends other than Koji Kondo, Nobuo Uematsu,David Wise, Jun Ishikawa etc. Those're wizard genius

[@Darknight0681]

Yes, Harumi Ueko did the soundtrack Turtles in Time, and was also responsible for Gradius 3. Anyone familiar with Bemani will probably know him as Jimmy Weckl. Konami had one of the BEST sound teams in the business during that era. With him, Shoichiro Hirata, Akira Yamaoka, Michiru Yamane, the list goes on. They made ANY sound hardware sing!

[@patrickmcloughlin2954]

Im most curious about how Earthbound did all that crazy pitchbending and other synth sounds where the waveforms cant be found in the sample data

[@livvy94]

So the weird pitch bending abuses the fact that pitch on the SNES can only be from 0000 to FFFF, it goes past those values and wraps around. There's also a noise sample that sounds completely different in EBMusEd, but it's because the amplification bits on each sample block header are (purposely?) effed up, so it sounds like noise on the hardware but the actual waveform is different. (Shoutouts to LMPuny and Pinci for bringing this to my attention!) The rest of the samples are findable in EBMusEd as far as I know

[@LuisDiazDrums]

doood i know what tim follins does its unique, his sounds never get old

[@exodustx0]

@@livvy94 Pitch has a range of 0000-3FFF actually! So it's even less than that :P I frequently get headaches from it.

[@livvy94]

@@exodustx0 Oh wow! I had no idea

[@dany1492]

as far asim know you can do it in varius forms usinf ebmused i use it with f4 xx or e3 xx xx so pretty much thats all

[@Dongled]

This is super interesting....It's such a shame that a lot of the things mentioned are just "lost to time." I guess we should be glad that people like Alberto and Barry have been able to discuss this with the public who are interested in this (mainly, us) so we can kind of uncover SOME of the details. This also explains why NA/PAL territories had so much difficulty trying to get the system to sing like the Japanese could...because a lot of times they weren't even given proper instructions in their language and had to reverse engineer in some cases. Wow. Great video! I need to go watch the Genesis one now.

[@TECHNOJESTER]

This channel is easily one of the best on KZbin right now. Between yourself, Retro Gaming Explained, and I'm sure many others, this really is the golden age of accessible, well researched, and well presented information on antiquated hardware.

[@graysonsolis]

Incredibly interesting stuff. I wish more people were into this stuff it's so cool and interesting and there really isn't anything quite like making music on limited hardware :)

[@tylerjones9995]

These type of videos are my favorite that you make. Great job!

[@KungFuFurby]

If you're wondering how the heck those .abr files got identified and utilized in the song at the end... it wasn't through loading them into SLICK/Audio and replicating the hardware setup... instead, I personally reverse-engineered enough of the format for them to be convertible into the BRR file format more commonly used today (I didn't actually create the utility, though, and the sample data was already pre-converted for the most part, just represented in a different way header-wise... and sometimes not properly terminating the sample properly, as I eventually found out), and I even found the tuning info in these files!

[@kanpaifighto]

are the samples available online? where did they come from?

[@Damian_1989]

"Samey" I was expecting you to say *"Seinfeldy"*

[@javirodriguez6852]

It took my time to find some video that REALLY explained how SNES music was made. This is by far the best one I found and I want to thank you for the gargantuan effort put into this to clarify a bit more the long and windy road 80's and 90's musicians had to struggle with in order to make music with so less information given by the companies about their hardware.

[@alfredtheamazing]

A very fascinating and interesting look at how SNES music is composed! Kinda sad to hear that authentic SNES music composition seems to be a bit of a lost art though

[@maxpowell3528]

ridiculously high quality content thanks man i loved every second of it

[@SuperJet_Spade]

This was very interesting to watch. I had sometimes wondered over the years what tools musicians used to make music for those games all those years ago.

[@jorgenitales412]

...you have to be one of the most underappreciated channels in all of youtube. you are summoning salt tier.

[@GSTChannelVEVO]

this is an insanely generous comment. thank you

[@YellowWalkman]

Completely agree

[@chrismingay6005]

Generous comment maybe, but absolutely warranted! One of my favourite channels and I'm surprised it has not taken off more.

[@BBWahoo]

@@GSTChannelVEVO I remember your bubble bobble gst release, and darius burst, you are automatically god tier.

[@GSTChannelVEVO]

@@BBWahoo That's not me! you're thinking of GO-GO-GST, later rebranded as LINE-OUT GST. That's all run by Emma Essex, who does absolutely amazing work. I simply liked the idea of calling "unofficial OSTs from Games" GST, and used that acronym for my own channel.

[@olukz2529]

absolutely fascinating video. Knowing how difficult it was to program music makes soundtracks like Chrono Trigger and Donkey Kong even more impressive technical and artistic achievements.

[@hacktrixapii]

I could sit here and watch EVERY of this channel's videos and never get bored. Well, until I finish them all, of course.

[@jaronimo]

you forgot to mention the Plogue chipsynth SFC VST - actually the most accurate way to produce SNES music nowadays.

[@jethinabox]

Does it export to something you can play back on SNES hardware though, which is what this video is about

[@jaronimo]

@@jethinabox good point. I mean, it is a VST that emulates the SNES sound chip and creates midi output - so theoretically yes? but I can only guess, since I'm not sure how the other VST mentioned in the video delivers its signals to the SNES...

[@GSTChannelVEVO]

C700 has a "record" option that spits out an SPC and a SMC based on whatever MIDI information you sent. This is not particularly efficient, but it works 100% on the hardware. Apparently, chipsynth SFC is even less efficient, so they haven't implemented any export at all (yet)

[@JoseHiggor]

@@GSTChannelVEVO unsure if this only happens to me, but when I do the record thing, the sounds come in random midi channels, instead of the ones they were assigned to

[@gamalielshapira]

Thank you for this video, shedding some light on something I've wanted to know for nearly 30 years now (ok I feel old now). Before SNES/SPC emulation was really a viable thing on home computers, Apple's QuickTime MIDI interface v. 2.5 (about 1996-97) somehow sounded pretty dang close to the original SNES music. Version 3.0 sounded way different, though, for some reason.

[@petes.9111]

Wow! So well researched! For us niche nerds into old console hardware + music writing this is top quality content

[@Purpbatboi]

Well, now days we have furnace furnace is finally bringing support for the SPC-700 APU

[@nojot0]

Now I can make SNES music if I time travel to 1995! Wait I don't know how to make music, shoot... Good video nonetheless, very informative! Getting a look at development tools like this is pretty neat.

[@GSTChannelVEVO]

Funny story: Long after I started my research, but before I finished this video, a website popped with a bunch of details on all the info on kits that I struggled to find. www.retroreversing.com/super-famicom-snes-development-kit/ I'm still pretty satisfied with my my own findings though!

[@maxwelseven]

Just AWESOME content we have here! That Tako and Ika bit referencing Splatoon got me. XD Really reeally cool!

[@Aidan_Lawrence]

Stellar work! Your narrated content is superb and it's a real treat to see another one of these mini-docs from you. Well done!

[@larryinc64]

1:05 Nerdwriter1's video on SNES music is so full of inaccuracies and flat out wrong information it just destroyed all credibility of that channel for me. Like even basic stuff like "Here is music from Super Mario World" (Plays Super Mario All-Stars music)

[@NeoN-PeoN]

And yet, the music from the SNES is among the best ever made.

[@zojirushi1]

Thank you Arlo for showing me this gem! :)

[@lesterrr12312]

so nice of you to do a follow up video!! too bad the question still remains, haha) well, at least now I see that C700 is usable.. you know, what I would really want to know or see covered on your channel is a legacy of Rick Fox! the track you played is just one of so many masterpieces and yet there's almost no info about it anywhere.. An artist feature with music from Aero The Acto-Bat and Pirates Of Dark Water sounds like an actual dream, tbh..

[@fromwithinuk]

Probably the most factual video about SNES audio development. It's really good apart from you missing the E from the end of my name. I can answer questions you might have about David Whittaker''s player.

[@GSTChannelVEVO]

oh no! That's what I get for trusting the credits of an old game, lol. sorry about that! I'd love to know more about David's sound driver, but I have so little knowledge that I'm not even sure where to start. More than anything, I'm curious about how you actually worked with it. Did it use a tracker style interface?

[@fromwithinuk]

​@@GSTChannelVEVO It was all just raw assembler code with very minimal command line tools to convert samples into SPC700 ADPCM format. The music was written in as raw data and compiled directly with the player code, which I modified a bit. There were equates to make things a bit easier so that you could put in note names and command names instead of just numbers, so the music format would end up looking something like: INST, 05, LENGTH, 06, C2, D2, F2, WAIT, WAIT, D2, F2, SLIDE, -1, F3, SLIDE, 0, END You would create patterns like the above of any length and then you could apply any pattern to any channel as part of the sequence. That sequence was just written directly into the data and the code pointed to the appropriate memory addressed. It was sort-of like a much more fine-grained and complicated tracker and the format is pretty much how all of his players worked on all platforms. Most raw playroutines were the same. My Amiga sound effect driver worked in pretty much the same way, and you can see from KZbin videos that Yuzo Koshiro's PC-88 player was also very similar. It's the most data-efficient way to do it and gives the most flexibility. There was also a way to reserve some RAM for the echo buffer and set up its co-efficients if you wanted to use it. To hear what I'd written, I'd have to make sure that the instrument bank was setup correctly and included, then compile it and link it with the test player, and then send it to the devkit. I used a Psy-Q (which I still have). You can find SNES Psy-Q pictures via Google. Because each pattern could be any length, it was very easy for patterns across channels to get out of sync. Sometimes I'd play the finished track and then I'd find that at, say, 3 minutes 30 seconds I'd missed a WAIT command or something and one channel would go out-of-sync, and get further out of sync each loop. I'd have to find it in the code, fix it, compile, send it, play it again and listen to the whole thing all through again to see if it was fixed. It was very laborious. Later, I wrote everything in Protracker on the Amiga instead and then copied the equivalent music data by hand into the code, which was a much better way to work. David sold his player code when he went to EA in the U.S. We (Psygnosis) bought it, and I know that Allister Brimble also had it as well.

[@GSTChannelVEVO]

@@fromwithinuk Just as I was thinking "this sounds like a tracker format but with extra steps", you mentioned that you ended up just composing in a tracker and copying the data. Beautiful. It's funny how common it was to write music in a text editor back then. It seems less "glamorous" than the custom tracker solutions that some devs conjured up, yet resulted in equally amazing music.

[@fromwithinuk]

@@GSTChannelVEVO Making GUIs is a pain. Always was and always will be. It's also (relatively) easy to write a playroutine for a sound chip without having to understand how to do any graphics or handle keyboard input or anything on the PC to be able to make an actual app. When you get into the right mindset with the text editor, it's almost as easy as using a tracker apart from the lack of instant previewing.

[@natebaby335]

found this video from the "How music was made on the super nintendo" and plenty of people said that that video is very vague and lots of the information was wrong. this video however, is the answer to exactly what i was looking for

[@GeoNeilUK]

I wonder how many British and European developers created SNES music in something like ProTracker or OctaMED on the Amiga? The Amiga's soundchip was also sample based so I'm sure there would have been conversion utilities written to convert MOD files to the module format for the SNES (or drivers written for the SNES that would play Amiga modules or even OctaMED files) The limitation on the SNES's sound chip was the 64K of RAM which is all it could access.

[@miquelfire]

You really hit my nostalgia feels with the Top Gear title music.

[@brickblock369]

Thanks for your explanation on SNES sound drivers!

[@SlyHikari03]

Never thought I'd see you here!

[@silversraylight9509]

First time I'm happy about my KZbin recommendations. Great Video! I had to check a couple of times because I couldn't belive you 'only' had 11k subs, I thought you had about a million for sure and were some kind of big channel that I missed. Keep going you definitely have the qualifications to become a big boy channel!

[@GSTChannelVEVO]

my weakness is that my main focus is on music, and narrated videos like this are a bit more rare. (as you may have discovered if you've looked through my channel) I'm trying to change that by making more narrated stuff, but my philosophy of "music first" is unshakable. thanks for dropping by

[@rricci]

I haven't played s lot of SNES games, but the one that sticks in my mond is the first song in Super Pang. I REALLY like that song.

[@Grobda]

Phenomenal work, mate. Always love to see new uploads from you. Nice to know SNES music dev was just as "fly by the seat of your pants" as MD music for the West!

[@JohnCrawford1979]

I don't understand why there's any issue in saying the main basic difference between the Genesis and the SNES is that Genesis used FM synthesis, and SNES used something similar to GM MIDI. This makes some sense into the similarities of many SNES same instruments, as GM MIDI had a set standard of instrument samples/patches. SoundFonts, as we would know them from the SB AWE 32 wasn't introduced until March of 1994, so GM MIDI was your best bet for decent for the era instrument samples. You can tell the difference from the 1990 - 1993 era instrument samples/patches to SNES games from the 1994 onward, which I think SB AWE 32 and the higher quality SoundFont samples helped make a difference. They still had to be down-mixed to play on the SNES, but, similar to graphics, down-mixing from a higher quality sample generally sounds better than taking from, say, a sample that's already been down-mixed, and is down mixed further. There's more distortion and other drawbacks to the end quality in doing the latter. I mean sure, SoundFonts may not of made the SNES changes as drastic as GM MIDI to VSTs, but you can tell there was something that changed in the instrumentation, both in quality and diversity after 1994, so something had to take account for that somewhere. And I can't help but hear the similarities between them and what I had on my SB AWE in my early days of composing on an IBM Aptiva 486. While there were SNES sound fonts made over the years, I found if you had a mix of GM MIDI and the factory set of SoundFonts that Creative packed the AWE with, you had very similar sounding instruments, save higher quality sounding than the SNES.

[@DrowseProductions]

Please I'm begging you make more videos like this.

[@whickervision742]

Thank you for the exhaustive research into this topic. Interesting you focused on that bass sample for forensics. I recall a certain trumpet sample being practically everywhere too.

[@GSTChannelVEVO]

oh yeah, it sure was! trumpet1.abr I probably should have used that instead of the sax, now that you mention it. I love my slap bass though, and the the harmonic-filled BASS.ASM was the first sample I was able to isolate, so those got the attention.

[@jaggass]

I'd love to know what synths and drum machines were sampled for the SNES games.

[@mrnuage]

I guess this video already talks about that, but in a nutshell, that cheap slap bass sample you would hear in all these "samy" compositions, compared to let's say, FF6 (to take one of the best) was the same thing as hearing badely converted midi to GEMS compared to beautiful FM soundtracks like SoR or Sonic.

[@greentilde4751]

GST keep answering the questions that keep me up at night

[@saltedmutton7269]

i'd like to mention furnace tracker, a tracker that works with snes among many, *many* other systems

[@BenWard29]

Love it- but you forgot the one game that haunts my nightmares with its slap bass hook... Paperboy 2. That game should be against the Geneva convention.

[@projectz975]

game dev in the 90s sounds pretty stressful, basically having to build your own tools unless you were working for a big company

[@k-leb4671]

You basically had to be an engineer and a composer.

[@astrahcat1212]

Soon to have 1 million subscribers, keep up the great work @GSTChannel

[@spoonybard13]

The MML compiler AddMusicK is how I personally create SNES music, with C700 mainly used to create samples. AMK is somewhat lacking in ease of use, though. Just about every single effect from pitch bend to vibrato to setting the FIR filter requires you to reference a hex code lookup table instead of having easy-to-remember commands like PMD or Mucom88. Supposedly people are working on improving it, but so far it doesn’t seem like it has anything to show.

[@MikeCrain]

Yooo 0:36 C700 VST. Love using that thing.

[@mherweg]

Fascinating video! This was a really interesting deep dive into a subject I've wondered about for a while. As you mentioned, everyone knows about GEMS, but I never really had any clue how it was done on SNES. Thanks for making this, you did an awesome job!

[@JogadorVelho]

Is there any music from the snes sound chip that comes close to doing something similar to the mega drive fm, psg and pcm combination?

[@DonnyKirkMusic]

Donkey Kong country 1 and 2 use a ton of synth samples off of Korg M1.

[@JogadorVelho]

@@DonnyKirkMusic more examples?

[@PastPlayerss]

Plok! Snes

[@maxwelseven]

Pop'n Twinbee Rainbow Bell Adventures used some Mega Drive FM synth in a lot of songs. Like in "Distorted Fantasy", "Run! Run!", "How Did We Do?" and much more other ones.

[@inceptional]

Kinda crazy, if I'm understand this correctly, that there's not an easy and standard way to create music and sound fx for the SNES that really takes full advantage of the capabilities of the console. :-o

[@BrunoChiovoloni]

Thanks for having made this channel!

[@Chubby_Bub]

Thanks for this cool video. I’m a fan of listening to and ripping video game music, and learning how it was implemented is really interesting.

[@joshuasanderson7359]

Good job using FFV music in the background. Under-appreciated, that one!

[@steakysteaky6]

that slap bass sample is definitely from the korg m1. it's the same one used in seinfeld and the cps2 versions of street fighter 2, among other things

[@GSTChannelVEVO]

That was my first guess as well, but it *seems* to have a slightly different attack/decay than any of the notes I played on my M1, which makes me wonder if it's a different rompler.

[@steakysteaky6]

@@GSTChannelVEVO the snes sample seems to be a lot shorter than the original, as snes samples usually are, but otherwise it sounds identical

[@NinoJoel]

11:38 There is a modern remake of that hardware you can buy today. It is called the Super Midi Pak

[@Metalltool]

Thank you. Always wondered how they did it

[@SpongeMagic]

Correct me if I'm wrong, but the 2A07 seen at 3:07 is PAL variant of the 2A03, the sound chip for the NES.

[@HsienKoMeiLingFormerYANG]

2a07 PAL felt overlooked.

[@GSTChannelVEVO]

you're correct! the only thing is... the 2A03 (and 2A07) are primarily the CPU, they just also happened to house all of the sound generation components.

[@k-leb4671]

Now I'm curious how David Wise and Eveline Fischer did it, because the DKC games are simply leagues above what most western SNES games sounded like.

[@HelloThereDiesel]

"Remember that harmonic-filled shortlooped bass sample from the beginning of this video?" **megalovania**

[@RetroGamingWithEdgarRivera]

Wow this is really amazing friend really interested I got to say and yes I do hear the sound effect time to time but since I played the Super Nintendo for a long time that I got used to it but yeah there's some music that is similar to others but the snes has a lot potential and use the snes sound and music to his full power and of course in good hands it can produce great music but yeah some of them can be too simlar to other games but it can get better results with time of corse it can produce amazing soundtracks.

[@lolodachi]

Do anyone know where are the Kankichi-kun samples available? It would be sick to have those samples to add this SNES vibe to tracks!

[@erics782]

The SNES sound chip had so much potential as shown with games like Waterworld and Power Instinct, but so many developers just used the default sounds, which were poor and generic. It's a shame because the sound chip was expensive with all the channels and the interpolation. Even most first party Nintendo titles sounded generic.

[@HsienKoMeiLingFormerYANG]

After appreciated SPC musical hardwares. Decided talking about TG-16 sound drive next.

[@Eggo1423]

i mean now we have furnace tracker to compose snes music but it has no spc export...... yet

[@VictorCampos87]

6:27 Megalovania from Undertale, is it you?

[@thebookkeeper3508]

nice work using sax_teno with the echo effect. Can a selection of classic snes samples be found for use with the C700 vst I wonder?

[@GSTChannelVEVO]

you can load *.SPC files and extract the samples from them in C700, which is the method I'd recommend. There is a selection of samples that were provided to Jeroen Tel, which he later leaked with the source code for the music to NBA Hangtime, but the instruments are in a format that isn't compatible with C700, and the tools I used were *not* clean. Some manual hex editing required. it's not something that's in good shape to release

[@KungFuFurby]

@@GSTChannelVEVO Yeah. I actually provided some reverse engineering for the .abr file format itself just so that the process could even be done in the first place.

[@akapype]

Excellent investigation and reporting job! Thank you.

[@Meteotrance]

Technicly it's like an Amiga MOD file it's also very similare to XM module format too, but 64kb of ram just for an entire soundtrack and wavetable samples it's criminal even with 8 tracks of polyphony, i use to convert module song i made in XM format to the snes Gss tracker it's a real pain in the ass, even if you have a premium sample make by your own or E-MU and akai sample librarie you must converted everything to 5000hz or 3000hz sample in 8 or 16 bit , the neo geo or even amiga and pc have more ram to manage that .

[@claudevandog]

Question: Is the 64kb limit for ALL music in a game, or just for each individual track? I've read some SNES games like Earthbound had bigger cartridge sizes to fit all the music, idk if that is accurate or not. But fitting ALL the samples and music sequence data of an entire game into 64kb is impossible right?

[@GSTChannelVEVO]

it's 64kb per track! (plus variations. for example, in Super Mario World, "Overworld", "Overworld (Yoshi)", and both of their "Hurry" versions are all the same 64kb "track", just with some adjustments during playtime.) you can have as many samples as you'd like on your cartridge but you have to fit it into SPC RAM if you want to actually hear it. it *might* be possible to fit the entire soundtrack (samples, sequence data, and sound driver) into 64kb, but I'm not aware of anyone doing that.

[@NinoJoel]

Great video it was really interesting and well made

[@lego5745]

A very cool video! I’d honestly love to see people try to learn more about this kind of stuff and maybe even try to make more modern tools like SNES Tracker in the future.

[@thenewguyinred]

What about Plok, how was Tim Follin able to make the soundtrack so mindblowingly awesome that even Miyamoto was baffled?

[@GSTChannelVEVO]

He used the in-house sound driver that Software Creations made. but also, he was Tim Follin, so he was incredibly good at figuring out how to bend limited sound hardware to his will. :P

[@thenewguyinred]

@@GSTChannelVEVO True, Tim Follin is indeed a master of his craft.

[@ShauingOfficial]

What about SNESGSS? I found it not too bad for making SNES music. Though I prefer doing via hex-editing on the Prince of Persia SNES as the writing music portion is relatively easier, as it is done mostly in the text window.

[@evenmorebetter]

For starting with basically nil usable resources, Top Gear guy did a killer job

[@evenmorebetter]

"Here, I'm just gonna need you to figure out how the SPC700 works and learn to read Japanese"

[@OhGeeWhy]

Great stuff as always

[@scroopynoopers9824]

Chipsynth SFC is worth a shot too if you're working in a DAW

[@SilhSe]

Best documentary !!

[@KTJohnsonkidThunder]

I use MilkyTracker for SNES music. But I don't go over 8 sound channels.

[@bsdims]

BRRs + OpenMPT = bliss :)

[@JunkerDC]

how did people ever get started saying snesss when i was a boy we called it s n e s or Supper Nintendo never snesss

[@definitelynotethan7959]

this is absolutely fantastic, thank you so much :^)

[@kevinguzmanmusic]

Thank you for this video, as a musician I can appreciate the thought put into the music when it comes to tonality, instruments and arrangement. I will always say that TOP GEAR has one of the greatest soundtracks in video game history. Thanks for the video keep up the good work!

[@z31Joshyman]

Very cool

[@Caesar_Online]

🤯

[@tommj4365]

You are the first person I've heard call is "Snes" everyone I grew up around said "S.N.E.S" or "super nintendo"

[@___joez]

Although Barry didn't have the right software to make Top Gear, most of the tracks are directly ripped from the Lotus series on Amiga so he probably just wrote a script/engine to convert each MOD track to SPC

[@Postaku]

Insanely interesting!

[@ProductionRicardoSilva]

Hy =) noce work congrats 😁👊 do you have any information about the playstation 1 and sega saturn music composition? How the program the composers used for? Thanks so much 🙏

[@GSTChannelVEVO]

Nothing specific. I know that redbook audio was interesting in that era because it was a sudden shift for a lot of composers as they tried to quickly build their own full studios. So you saw lots of romplers and synthwork that might be considered "cheesy" today. I haven't looked into the generative side of that era of music at all, though

[@g-starthefirst]

6:28 the inspiration for MeGaLoVania????

[@dungd2nTV]

2:36 marlboro menthol

[@edameow]

2:01 Ah yes, the *I S - D E B A C T E R*

[@kot32_fake]

How exactly do you assign each sample/instrument from the C700 to an OpenMPT instrument? Just wanna know, nothing else.

[@GSTChannelVEVO]

in the Instruments tab in OpenMPT, you have a section dedicated to MIDI data. you can change the MIDI channel to trigger a note on one of the 16 channels in C700 and you can change the MIDI Program to always trigger a certain sample regardless of which of the 16 C700 channels you use. hopefully that makes sense!

[@kot32_fake]

@@GSTChannelVEVO Thank you, also would like to know what's with C700 not playing the notes in the first row every time I press the "Play From Start" button?

[@GSTChannelVEVO]

I think it's some sort of initialization thing? I usually just ignore this until I need to record/render a song, at which point I'll just add a short empty pattern to the start of my song.

[@MarcoAGJ]

Awesome video.

[@GoNinty]

I loved this video - you seem to have a real knack for making this kind of stuff. I watched the Genesis one too, please make more! I watched some of your artist features as well and they were also amazing. That SNES cover of "I'm a dick" at the end was great as well. Do you have a download link available for it? I prefer it to the original tune.

[@GSTChannelVEVO]

thanks for your kind words, more videos are cooking slowly.

[@thelmaboss244]

0:27 what is that game?

[@GSTChannelVEVO]

That's Aerobiz, or Air Management: Ozora ni Kakeru in Japan

[@thelmaboss244]

Thanks. 😁

[@tomfranciscodarosa4399]

you are my hero

[@rafaelantonio6765]

donkey kong soundtrack wins

[@HitSpaceGD]

1:59 Good ol' IS-Debacter

[@RoyalBlue43]

Awesome video, and great research. Its a shame that it only has 9k views, when aesthetic misinfo from nerdwriter gets millions 🤷‍♂️