Sonic Triple Trouble 16-Bit OST - Meta Junglira Zone (2 Player)

Channel:

Dv2

Subscribers:

5,300

Published on August 6, 2022 6:00:05 PM ● Video Link: https://www.youtube.com/watch?v=HTveJtpebFc

Game:

Sonic the Hedgehog: Triple Trouble (1994)

Duration: 2:06

8,069 views

166

The theme for "Meta Junglira Zone (2 Player)" from Sonic Triple Trouble 16-Bit, compatible with the Sega Genesis / Sega Mega Drive console.

DOWNLOAD (MP3, VGZ & DMF):
https://drive.google.com/file/d/1Vn8PJ6aotuRDtdKPhx5Ps1Bdv6T8Hwjb/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: 180, 225 & 300 BPM (NTSC, speed 03/02, 02/02 & 01/02)
·FM instruments loaded: 12
·PSG volume macros loaded: 5
·PSG channel 4: Free range white noise
·PCM samples loaded: 5
·Time in development: 2 weeks
·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:
Since 2 player songs were meant to be faster and have more action, I thought the best way of doing that for a tropical level would be to give it that high energy we're more used to hearing with a reggaeton rhythm and also a little bit of brazilian carnival vibes, like what Sega sometimes does in other games like Samba de Amigo. With that in mind I started experimenting with the song's rhythm to see how it affected the melody, and for that I copied my Act 2 remix file to not have to import or edit any instrument. I also experimented with a minor scale sound to make it more serious, something more like the Great Turquoise remix, which in practice meant using the dorian scale that I ended up not liking much. In truth, I wasn't liking any of the things I did so I started over, instead using the original rhythm for the intro but with different notes, and from there I started getting new ideas.

Unfortunately I don't remember the actual order in which I did things, but I remember why I did each thing. I think the first thing I thought of doing was simplifying the bass notes and maybe also the melody to accentuate the rhythm. Speaking of rhythm, it's not a real reggaeton beat without a loud ass kick, so I had to get more appropriate samples. The hi-hats have the Emerald Hill Zone rhythm which in my opinion is distinctive of classic Sonic, which is a 3 note pattern and a silence. I used that same rhythm but with a quieter hi-hat in place of the silence as a sort of echo, which later turns into a longer hi-hat to highlight the 3 of the 1, 2, 3, 4. Then came the melody's rhythm, which basically consisted of seeing what worked and what didn't, and that mostly revolved around changing notes to later listen to, trying to alternate between quick notes and portamento. Lastly came the harmonic changes, which was a combination of intending to do things and accomplishing them by accident. I started placing notes without listening to the original to make sure that what I was doing had internal logic, instead of copying something I don't understand and breaking it without knowing what I'm doing. There's a part in the original where the song gets transposed (I think that's the word...) a few notes higher, meaning that it's the same intervals but in a scale based on a different note. That part stays in the same scale here, but I reharmonized that section with the same notes of the regular scale. It could also be interpreted as it modulating to A minor, which would give it that minor touch I originally wanted to give it and I had no idea I actually did. I also wanted to harmonize the melody in fourths to make it sound more japanese, but it turns out I did it wrong and it's harmonized in fifths, in other words, the usual, all but the first note and apparently that's enough lol. I also wanted it to be the most dissonant part of the song because it already sounded like the dark twist of the song, and instead of using the tritone which is stereotypically dissonant, I used a minor second but an octave higher, which makes it sound more musical and less forced. My favorite part is the ending of the song. Changin focus from one instrument to another makes the whole thing more dynamic. That's where I introduced the stereo trumpets I later reused for the intro. And I also managed to reintroduce my melody for the intro of Act 2 but now used for the outro of the song.

I gave it some swing after listening to Awakened Soul from Castlevania Symphony of the Night when I noticed the bass had the same rhythm that my remix did. I also upped the tempo 'cuz one day I was walking on the street and I noticed someone was listening to some reggaeton that was faster than mine. Before that, I thought doing so would sound bad. The beat change at the end of the song was a last minute change, I thought it'd be kinda cliché but if the other two changes worked then why wouldn't this one work.

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