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Retronauts

Retronauts Micro 56: An audio-sampling sampler

Retronauts

Retronauts

Technology, Games, Video Games, Leisure

4.62.3K Ratings

🗓️ 10 March 2017

⏱️ 28 minutes

🧾️ Download transcript

Summary

Retronauts Micro returns on a biweekly schedule! Jeremy kicks things off with a follow-up to last year's look at FM synthesis in games by exploring a flip side: A brief (and at all comprehensive) history of audio sampling vis-a-vis video games.

Transcript

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0:00.0

This week in RetroNots will be played back at a low sample rate, you know, for that warm fuzzy sensation.

0:04.8

Now that RetroNots micro has returned, I'd like to follow up on one of my previous

0:31.1

microtopics, specifically that survey of FM synthesis and games. Go check that out if you haven't

0:36.5

listened already. Perhaps not surprisingly, that episode sparked a bit of the time-honored and

0:40.6

perhaps inevitable Super NES versus Genesis debate, since those consoles sound capabilities helped

0:46.3

in large part to define them. Gamed consoles tend to work alike on a lot of fundamental levels,

0:51.5

which is especially true these days. The Genesis and Super NES, however, existed in contrast to one

0:56.8

another in a great many ways, and few ways more so than their respective audio technologies.

1:01.9

The Genesis without question represents gaming's purest pipeline of FM synth audio directly to

1:07.4

the player's brains. The Genesis' distinct soundscape, while sometimes harsh or poorly

1:31.0

implemented by audio programmers, played an especially significant role in helping the console

1:35.7

to feel like an emissary from the future when it debuted here in 1989. The metallic sharpness of

1:40.9

its sound also created a meaningful perceptual contrast to the Super NES's audio. As I mentioned,

1:47.4

Genesis audio tended to have a crisp, percussive sensation that perfectly complemented the more

1:52.0

intense action-oriented experiences at which the console excelled, sports games, shooters,

1:57.6

racers, and so forth. The Super NES worked better when it dealt with softer warmer sounds like

2:02.2

orchestration, which in turn fit both the slower-paced games that the console specialized in,

2:07.6

as well as the softer, more muted color palettes that tend to show up in its games visuals.

2:32.5

Where the Genesis implemented FM synthesis, generating audio based on predefined algorithms and

2:37.6

wave lengths, the Super NES took a different approach. Rather than simply generating tones the

2:42.3

way other consoles did, it instead relied on sampling technology as its key underpinning.

2:47.3

So let's talk about sampling and how it relates to video games.

...

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