Sonic Triple Trouble 16-Bit OST - Intro & Prologue
166The Intro (Sky Sanctuary remix) and Prologue themes from Sonic Triple Trouble 16-Bit, compatible with the Sega Genesis / Sega Mega Drive console.
DOWNLOAD (MP3, VGZ & DMF) (each of the files includes both themes):
https://drive.google.com/file/d/1CLFpFhSO-WeyuP8pR0W1Bcg28zZc1mZi/view?usp=sharing
Feel free to use it for your videos or fangames.
NOTE: You need a VGM player to open the VGZ file, and the DMF is only for DefleMask.
PLAY THE GAME:
https://gamejolt.com/games/sonictripletrouble16bit/322794
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Technical info
·Tempo 1: 150 & 128.57 BPM (NTSC, speed 03/03 & 04/03)
·Tempo 2: 56.25 & 60 BPM (NTSC, speed 07/07 & 08/07)
·FM instruments loaded: 14
·PSG volume macros loaded: 2
·PSG channel 4: Free range white noise
·PCM samples loaded: 3
·Time in development: ¯\_(ツ)_/¯
·Music program: DefleMask Tracker v0.12.0
·Channel audio visualizer: Corrscope 0.7.0
·Stereo audio visualizer: Spectralizer plugin for OBS
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About the song:
The version you're hearing may be a bit different from the one in-game for the reason I'm about to explain. When Noah told me he wanted a song for the intro cutscene that opens the game and leads to the intro level, I had the idea of smoothing the transition by fading one song into the other so that they would sound like two separate songs but would be one single song internally. Apparently he couldn't implement them as one, so the transition here may be a little different from the game. You can call it the OST version if you will.
He wanted the first part to be an orchestral remix of Sky Sanctuary, and we basically had the same vision on what that would be like, so that part was super easy to do, especially since I had the original instruments ripped straight from the game ready at hand. To put it simply, the only thing I had to do to get it to sound orchestral was to give it a marching rhythm, finding string instruments for accompaniment, and some gravely trumpets to give it some ground and direction. The first and second halves were done independently as separate songs so I could later join them as one once they were both finished.
The hard part was the second song, and it's the one that took me the most attempts out of all the ones I made for the game. Noah wanted something that sounded like Ecco the Dolphin, and although I'm pretty sure he meant it in terms of melody and ambience, I took it as in terms of timbre, because honestly I'm not sure how to do ambient music of that kind. Since the level is dark and precedes the Doomsday Zone Robot fight, I supposed a menacing but calm theme would fit it well, but that meant coming up with an original melody and rhythm that were both of those things, and you could tell that would be difficult. Since rhythm was my strong suit, I started with that by making a simple melody with a percussive instrument with a little bit of echo, which in my mind sounded like the tick-tock of a clock. Then I made up a harmonic progression with low synthesizers, that's what gave it the calm-but-menacing feeling I was looking for and it's what made it feel like something out of Ecco. When I showed it to Noah he deemed the melody too active to feel calm, so he asked me to make it move a bit less. Changing it accordingly was not difficult, but Noah didn't like the synth I was using and asked me to find something different. Most of the versions I have are just instrument changes because, as it turns out, the exact tone we were looking for depended mostly on that. I had also given it FM bird chirps originally, but he told me it was better not to. In the end I managed to find a configuration that felt like an 80's movie synth and we both liked it, so that's what we stuck with. I find it funny that I was partly inspired by the Terminator soundtrack, and when Sam (Sam Procrastinates, formerly Sam's Procrastination Station) played the first demo that had it, he said it sounded like a horror game, which was not at all my intention but at the same time that's pretty much what my inspiration had been. It's even funnier because Noah had already tried turning it down a little. In my defense, my original harmony was 5 chords (or rather intervals) instead of 2 notes, but the instrument I used didn't leave room for more than once voice and that's how it got to be what it is now.
NOTE: In the video I didn't credit Sky Sanctuary's composer because I'm not sure who it is. I credited Tomonori Sawada in the VGM because that's who I think it is. The VGMs from Project2612, which I use as my sources, don't credit him as the (sole) composer, and I don't remember where I got that from.
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