[Metal Gear Solid] What is this sounds library ?

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Toni22 wrote:>HaganeSteel

Thanks for your time to reply me :)

This topic can be closed, because i found how to get all of these sounds.

Just rip samples from the PlayStation disc =P

I have Miroslav Philarmonik :wink:

Thanks !
What you're doing is blatantly illegal. Do you really think you can get away with unauthorized sampling? It'll catch up to you, sooner or later.
sebaden wrote:
Miroslav Philharmonik, but you're SOL on the drums and the synth sounds.

I found the manual to Philharmonik and it doesn't list any percussion too.
you can find the usual orchestra percussions in miroslav philharmonik.
Yes, but you can find better ones elsewhere. Storm Drum is my vote, though I've never used it, and thus not PhilCE and it together, I like the sounds. :) Or, even Proteus 2 offers better drums, and is from the same timeframe, so they sound decent together...

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HaganeSteel wrote:
ENV1 wrote:I think you might be looking for the WAVESTATION. Capcom used this quite a bit in the RE series, as you can hear for example in this clip. (Intro of Resident Evil 3 versus WAVESTATION RAM1 Performance20 'Midnight Run'. Its a perfect example because the performance was used without any alterations.)

Well possible that the MGS sound guy used it too if the sounds you mentioned are really identical between RE and MGS...
He's not talking about the Wavestation. I literally own the hardware the sound he was referring to is in.

The strings, the rest of the orchestra, that synth bass in Resident Evil 2's "Escape from the Laboratory" all come from a Roland, and many of the Roland orchestral sounds come from Miroslav. These same sounds were used in Resident Evil 3.

Their synth racks were typically very large, and they usually drew from multiple synths, but in the case of MGS, Resident Evil 2 and 3, and countless other games, Roland was the dominant sound.

Roland was used more because it had the strongest orchestra for the price at the time.

Michiru Yamane, for example, had two Rolands that she used:

Image

That is a Korg Triton rack, a Roland XV5080 and a Roland JV2080 behind her. She worked for Konami, but that doesn't matter.
That's a really cool history on VG music creation. I always wondered how composers worked pre-2000. I assumed it was on hardware workstations, but I didn't know for certain. I wonder if they bounced each track individually to mix it in some early wave editor, or what?

On a side note, making music in a cubicle with ugly fluorescent lights overhead? That sounds kind of soul-crushing. :hihi:

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Arglebargle wrote:That's a really cool history on VG music creation. I always wondered how composers worked pre-2000. I assumed it was on hardware workstations, but I didn't know for certain. I wonder if they bounced each track individually to mix it in some early wave editor, or what?

On a side note, making music in a cubicle with ugly fluorescent lights overhead? That sounds kind of soul-crushing. :hihi:
For the most part, they dumped the sounds into RAM and basically played back MIDI files, but the music formats were proprietary.

There were a lot of limitations here too, even for the PSX era. Dennis Martin for Legend of Dragoon said, "I couldn't even use the sustain pedal!"

Things like this, the space limitations, the almost complete lack of instrumental complexity and articulation, is why video game music was so melodic.

It's also why my music features almost no articulation whatsoever - I was never influenced by that beyond the spiccatos and marcatos of string sections, and woodwind trills and glissandi. Everything else was just basic MIDI notes.

Marty O'Donnell said back in 2004 that streaming music from CDs and DVDs "wasn't ideal", presumably because other things were also streaming from those discs and the hardware just wasn't powerful or fast enough, but I could be wrong on the last part. They were still doing this into the first XBox's lifespan. They may have stopped now, though.

I do computer game music, and so that's just a matter of creating OGG files and looping them in Audacity.

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HaganeSteel wrote:
Arglebargle wrote:That's a really cool history on VG music creation. I always wondered how composers worked pre-2000. I assumed it was on hardware workstations, but I didn't know for certain. I wonder if they bounced each track individually to mix it in some early wave editor, or what?

On a side note, making music in a cubicle with ugly fluorescent lights overhead? That sounds kind of soul-crushing. :hihi:
For the most part, they dumped the sounds into RAM and basically played back MIDI files, but the music formats were proprietary.

There were a lot of limitations here too, even for the PSX era. Dennis Martin for Legend of Dragoon said, "I couldn't even use the sustain pedal!"

Things like this, the space limitations, the almost complete lack of instrumental complexity and articulation, is why video game music was so melodic.

It's also why my music features almost no articulation whatsoever - I was never influenced by that beyond the spiccatos and marcatos of string sections, and woodwind trills and glissandi. Everything else was just basic MIDI notes.

Marty O'Donnell said back in 2004 that streaming music from CDs and DVDs "wasn't ideal", presumably because other things were also streaming from those discs and the hardware just wasn't powerful or fast enough, but I could be wrong on the last part. They were still doing this into the first XBox's lifespan. They may have stopped now, though.

I do computer game music, and so that's just a matter of creating OGG files and looping them in Audacity.
I can definitely feel where you're coming from. Most of my earliest influences were video game composers. They made some amazing stuff with extremely limited tech.

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Arglebargle wrote:I can definitely feel where you're coming from. Most of my earliest influences were video game composers. They made some amazing stuff with extremely limited tech.
Yup.

I feel the best music is the melodic instrumental stuff from the SNES and PSX eras.

Because they were so limited in what they could do, they had to focus on the fundamentals of music composition: Melody, harmony, rhythm, cadence and timbre.

So video game music was all about the fundamentals, much in the same way the game Divekick is all about the fundamentals of fighting games.

If you didn't have good fundamentals, you didn't make good video game music.

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Asuyuka wrote:
Toni22 wrote:>HaganeSteel

Thanks for your time to reply me :)

This topic can be closed, because i found how to get all of these sounds.

Just rip samples from the PlayStation disc =P

I have Miroslav Philarmonik :wink:

Thanks !
What you're doing is blatantly illegal. Do you really think you can get away with unauthorized sampling? It'll catch up to you, sooner or later.
Is music instruments from videogames illegal to use?

They should not be illegal to use if they sound like they come from a purchased KONTAKT sample library.

Or the sample library developers have stole sounds from videogames.
Claiming they have recorded it with their microphones.

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Jedinhopy wrote:
Asuyuka wrote:
Toni22 wrote:>HaganeSteel

Thanks for your time to reply me :)

This topic can be closed, because i found how to get all of these sounds.

Just rip samples from the PlayStation disc =P

I have Miroslav Philarmonik :wink:

Thanks !
What you're doing is blatantly illegal. Do you really think you can get away with unauthorized sampling? It'll catch up to you, sooner or later.
Is music instruments from videogames illegal to use?

They should not be illegal to use if they sound like they come from a purchased KONTAKT sample library.

Or the sample library developers have stole sounds from videogames.
Claiming they have recorded it with their microphones.
You're still using the sounds without legal clearance. You can't used sampled audio, I.E. Roland's gear, without permission or reasonable use. The composers own the ROMplers, they can use the sounds to make video game music. This guy obviously doesn't own the ROMplers, and is taking the samples from a video game disc. They are still, after all, samples.

Synthesized sounds are a different story. You can sample synthesized sounds, like from an FM or Analogue synth, to your hearts content. But if you didn't sample it and someone else did, and you don't have the permission to use the work, it'd still be illegal.

So, you can get away with VSTs emulating and sampling things like the C64 and the NES,they're synthesized, but you can't get away with taking samples from a video game music stream, like Chrono Trigger's or MGS's. That's just stealing from Roland, and the people who worked on the game.

Even if you plan to sample music, you'd still need a mechanical license to use said music commercially. So, in order to use anything from MGS, you'd either have to own the sample library and use the individual sounds from it, or get a clearance to use loops sampled from an MGS song from Konami.

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You know, I'm pretty impressed someone could actually hunt down such a particular sound like that.

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I say to me JV1080 etc rolands are only few 1990-1999 digital synths what i like. I dont own i owned but selled Juno-G. Saddly i very likely dont have budget get these old stuff becouse best sounds for my needs comes form software... i want say this to me roland has one best sounds even today...

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Asuyuka wrote:You're still using the sounds without legal clearance. You can't used sampled audio, I.E. Roland's gear, without permission or reasonable use. The composers own the ROMplers, they can use the sounds to make video game music. This guy obviously doesn't own the ROMplers, and is taking the samples from a video game disc. They are still, after all, samples.
Asuyuka wrote:if you plan to sample music, you'd still need a mechanical license to use said music commercially. So, in order to use anything from MGS, you'd either have to own the sample library and use the individual sounds from it, or get a clearance to use loops sampled from an MGS song from Konami.
I don't have a studio. I have never sold my music.

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Hey guys!

Do you remember Square/Enix game called Einhander? It was released 1997. Do you have any idea of gear behind that soundtrack. Here are some excerpts...

https://www.youtube.com/watch?v=8JDd_RFa69Q

https://www.youtube.com/watch?v=YyITEQD ... 9I_jQ41ZuA

cheers!

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oneummon wrote:Hey guys!

Do you remember Square/Enix game called Einhander? It was released 1997. Do you have any idea of gear behind that soundtrack. Here are some excerpts...

https://www.youtube.com/watch?v=8JDd_RFa69Q

https://www.youtube.com/watch?v=YyITEQD ... 9I_jQ41ZuA

cheers!
Einhander was composed by Kenichiro Fukui, and he is not known for using any one particular synth. He's not well known at all, actually, so there isn't much I can tell you about what he used.

He also did music for Final Fantasy VII: Advent Children and Front Mission 5. His work in Front Mission 5 is absolutely brilliant.

The truth is, you can get the sounds used in Einhander literally anywhere these days. I can't tell you what exactly he used, but I can give you some ideas on where to go to get those sounds. You just need a good VA or rompler, and drum machine.

In Shudder:

That Orchestra Hit sound can be found in any General MIDI synth. It is definitely in the M1. I mention the M1 because it has some of the best Orchestra Hit patches in my opinion.

The synths are just detuned saw/squares/etc. with a lowpass filter and resonance or filter sweeps on them - you can make these on anything. Tone2 Firebird's reverb gives its sound a depth that reminds me of the arps in Einhander.

The pads can be made easily on anything like the M1 or Purity - a rompler with the appropriate glassy/sampled choir and organ samples - which are definitely in the M1 - and the ability to layer or create combis.

The sounds in Einhander are really basic across the board.

So what you're really after is the music theory he uses.

Shudder's melody opens with a D minor chord. The chord is D, F, and A, with D being the bass note. The scale he's using is D, D#, F, F#, G#, A, B, C and he occasionally throws in chromatic notes like G and E when traveling between notes to make it sound more unstable/weird or tense. This is basically the D diminished scale and is useful for creating a tense sounding song.

It is also a scale used by someone with an extraordinary mastery of music theory.

You can look this type of scale up here: http://en.wikipedia.org/wiki/Octatonic_scale

That "tough" sound he has comes from using primarily the A and D notes - that is, a perfect fourth (edit: or a perfect fifth - it depends on which note is on the bottom) interval. It's also what gives the song a slightly eastern sound.

Edit: Tried to be less confusing. :lol: :oops:

Edit #3478: Just want to jump back in and say "Street" is using tabla drums. I myself have yet to find decent and usable tabla drums to use in my own mixes. Even the ones in Purity I thought were tuned, but weren't. Tabla drums are in the M1, though, they just kinda suck.

Tabla drums are typically tuned (to the root note of your scale) and so you can't just find tabla samples and throw them into your mixes willy-nilly. The problem is that I rarely find them tuned to the appropriate pitch that I need, and tuning them on the M1 and other romplers is near impossible because they're not sampled correctly in the first place, and you basically end up having to tune all four strokes (but not all four strokes are pitched, but still require some tuning to fit into the mix) or it won't sound right.

Oy. Pain in the ass. I've long since given up on finding good tablas and have settled for congas and other such things.

Edit #3479: Wanna jump back in here for the umpteenth billionth time and say that glassy pad in the background in Street is the same one David Bowie used on the Omikron Nomad Soul opening theme:

https://www.youtube.com/watch?v=gURTP21tPWw

If anyone can identify that synth, then you have at least one of the machines Mr. Fukui used.

Edit: 234786786488: I've identified the synth. It is likely a Korg Trinity. :hihi:

Which is funny, because I was going to say, "Einhander sounds like Korg", but didn't want to be presumptuous.

According to Wikipedia, David Bowie used a Korg Trinity, and Omikron's soundtrack was made during the era that the Trinity was popular, as was Einhander.

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Nobuo Uemastu is my star composer from these times. Huge fan, check his music (final fantasy 1 to I don't remember when he stopped).

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Davias wrote:Nobuo Uemastu is my star composer from these times. Huge fan, check his music (final fantasy 1 to I don't remember when he stopped).
He never really stopped, he only took a break. :hihi: He worked on XIV A Realm Reborn with Naoshi Mizuta and some other guy.

I was never much of a fan of him as a kid, but he is probably my second strongest musical influence, oddly enough.

Uematsu's sound, which is basically an Emu Proteus 1 + the Roland SC88 is the sound I've been trying to recreate in software for years, and finally was able to do that with Digital Sound Factory's stuff and the Hyper Canvas.

Even the french horn used in Final Fantasy X's battle theme is the same one in the Hyper Canvas, it just has a lowpass filter applied to it (which you can do in the Hyper Canvas).

Uematsu for some reason never mentioned that he used the sounds of the Proteus 1 (and probably the Proteus 2), and for years, everyone, myself included, thought all those sounds came out of an SC88.

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HaganeSteel wrote:
Davias wrote:Nobuo Uemastu is my star composer from these times. Huge fan, check his music (final fantasy 1 to I don't remember when he stopped).
He never really stopped, he only took a break. :hihi: He worked on XIV A Realm Reborn with Naoshi Mizuta and some other guy.

I was never much of a fan of him as a kid, but he is probably my second strongest musical influence, oddly enough.

Uematsu's sound, which is basically an Emu Proteus 1 + the Roland SC88 is the sound I've been trying to recreate in software for years, and finally was able to do that with Digital Sound Factory's stuff and the Hyper Canvas.

Even the french horn used in Final Fantasy X's battle theme is the same one in the Hyper Canvas, it just has a lowpass filter applied to it (which you can do in the Hyper Canvas).

Uematsu for some reason never mentioned that he used the sounds of the Proteus 1 (and probably the Proteus 2), and for years, everyone, myself included, thought all those sounds came out of an SC88.
I wonder what he used in Final Fantasy 7? Am I right in thinking the Playstation used tracker style files, not wav audio tracks? Or did it support both? You can download the soundtracks for PS games as little tiny files and play them on a phone app such as DroidSound.

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