Yeah, that’s right! As you’ve probably noticed by now the of this particular Sound Bytes article has been cleverly dubbed ‘Retro Bytes’ and, (you’ve guessed it), I’m going to take a trip back to look at the producers and their game soundtracks that made my childhood pure audio, (I maybe getting a bit carried away there). Either way, you might have some qualms over whom I’ve included here, (in that some might be too obvious/not so obvious), so I’ll just say that I’ve taken this from the perspective of my own childhood and not to take it personally, (as I’ve already done so).

To give you a basic grounding I’ll do a brief overview of the technologies used to create these ever famous, (and not so famous), soundtracks. Basically it’s a quick dummies guide, (so you can skip ahead if you want).

Family BASIC

The ‘Family Computer Disk System’ or FAMICOM as it was more commonly known was a disk system from the 8-bit era of Nintendo. A peripheral of this being ‘Family BASIC’, (Basic being the common old school programming language). Although this peripheral couldn’t be directly used in conjunction with the disk system itself the FAMICOM Data Recorder, (or any cassette player), is applicable. But there’s plenty of emulators/ROM’s out there if you wanted to avoid ebaying it, (this is assuming you’ve got a taste for this afterwards).

MIDI

‘Musical Instrument Digital Interface’, (or MIDI to you and me), is the standard interface between instruments, computers and electronics. Sequencers are a way that helps to utilise this through a computer program along with trackers that allow greater control over the modules themselves. The development of this technology in home computing has allowed anybody to become a producer and, over the past few decades, many indeed have. Although we might have to wade through a ton of crap this can only be a good thing in the long run.

Now onward with the music itself.

Hirozaku Tanaka

Going by the nickname of ‘Hip’ Tanaka Hirozaku was born 1957 in the Kyoto Prefecture Japan. He started out as Nintendos first composer and sound engineer in their research and development team. Known for favouring uniformity in his soundtracks with Metroid as one of his most critically established works he got asked to step off the Pokemon franchise after it hit big time by Nintendo. This didn’t deter him though as he went onto join Creatures Inc in 2000 that’re also responsible for the franchise with whom he’s the current President of.

Tetris

 

Is there much I can say about this hypnotically infectious tune that you don’t know already? ‘Type A’ is the theme tune most people remember which was based on the nineteenth century Russian folk song ‘Korobeiniki’, (so really I should be congratulating Russian culture for this one). The fast paced ‘Type B’ is what Tanaka is known for though.

Michael Z Land

Born North Shore Boston Massachusetts 1961 he was Harvard educated focusing his musical prowess within the field of electronic and MIDI gaining himself knowledge of computer programming. Going to work for LucasArts in 1990, (then know as Lucasfilm Games), he gave himself a grounding as he established some of his best-known game scores. After this he went onto produce the iMUSE, an advanced, (and ambitious), MIDI sequencer which allowed greater interactivity. He’s also implemented digital audio compression that allowed the recording of real instruments and hi-fidelity audio.

The Monkey Island Series

Caribbean melodies punctuate this particular score as he uses woodwinds and marimbas to get the desired sound. The overall effect is quite haunting although it never detracted from the actual gameplay, (and all the great jokes which let you know a game could actually have good sense of humour).

 

Koji Kondo

The acclaimed composer known as the ‘Japanese John Williams’, (born 1960, Nagoya Japan), begun his highly regarded career in 1983 with Nintendo. Basing himself on his trademark three note motifs in C major and being a proponent of Family BASIC his tunes have been covered by almost every retro nostalgic even reaching the top of the Billboard charts in 2009 with his Super Mario Brothers theme. He’s also been given the full symphony works with ‘PLAY! A Video Game Symphony’.

Super Mario Brothers

 

Apparently the hardest to compose this was originally known as the ‘ground theme’, a calypso style melody that everyone can remember. I’m not really sure what I can write about it that everyone doesn’t already know and this is its main legacy. There’s hardly anybody that can’t hum this tune note for note that I know of.

 

Legend of Zelda

 

The ‘Zelda Theme’ was supposedly written in one day. What can I say to this except thanks a lot? One day of his time for hours spent listening to this tune as I dashed about. Again though this is testament to his ability to create a timeless tune that sticks in your mind like glue.

 

Tim Wright

Born 1967 Cymau Wales he also went by the moniker of ‘CoLD SToRAGE’ upon the Amiga Commodore as he started out in the Demoscene with the group ‘DIONYSUS’ with whom he created ‘Puggs in Space’ during the eighties before going onto work for Psygnosis. He then went onto form Jester Interactive Limited, (who created MUSIC for the Playstation thus putting my GCSE’s in mortal peril). He currently works for Tantrum Media Limited and since 2006 has worked on the Nintendo DS, Sony PSP and PC.

Lemmings

 

Much of this soundtrack is rendering of classical pieces so I don’t really need to say that much about it except that they stuck with me to the point of madness as I panicked to finish a level in time. It’s kind of worrying when I actually consider that this is probably where I got my education in the ‘classics’…

 

 

Allister Brimble

Allister Mark Brimble born Westminster, London, 1970 is best known for the chirpiness of his tunes. Starting out on the Amiga as a composer for the infamous Team 17, (Worms…), he now acts as on half of Orchestral Media Developments along with Anthony Putson, (who’s been around since the early nineties too). He now specialises in GBA, NDS and the Wii, (so basically Nintendo again; maybe there’s a pattern emerging here…).

Superfrog

All right, he’s also known for the Dizzy series but this is the soundtrack that stuck with me, (along with a taste for Lucozade damned product placement). Chirpy and happy this music kept me from going insane as I attempted to finish the game and, in later levels, placating some of the more increasingly difficult moments with music that you couldn’t help but smile at.

 

It looks like these music producers will be around for some time yet to come a few of whom started up in their bedrooms and, with the technology getting cheaper, it looks like many more will follow. The same goes for those who begun in the more traditional schools of music but branched into this previously more leftfield area opening it out as a whole for future producers to further explore as well.

With video game music being taken more seriously what with the ‘Orchestral Game Music Concerts’, (which does exactly what it says on the tin), kicking things off back in 1991 and the ‘PLAY! A Video Game Symphony’, (which again doesn’t leave much to the imagination as a title), over in America, it seems the musical ‘establishment’ is noticing. While I’m not holding my breath on it making its way to the Albert Hall there is this at the Barbican: http://www.barbican.org/artgallery/event-detail.asp?ID=11798

But, with the technology getting cheaper and easier to obtain all that’s needed now is a general knowledge and understanding of the technology as a whole which is positive news as it means you don’t need to go into a lifetime of servitude to pay for a music degree, (alas, it’s too late for me now).

Anyhow, I’ll be back next week with further forays into soundtracks that are helping to innovate the games industry. Well, that and they sound just damn good.