Aladdin is like how a world class violinist can make a cheap violin sound great but your average fiddler couldn't make a Stradivarius sound like anything special.
Errr as a mediocre violinist i think this is inaccurate- the better the violins ive played mostly sound better even played badly. Exception being if the strings are a different style than the player is used to...
Yeah, this video showed up in my suggestions. Starts off with the guy telling us to follow him, then just lists a bunch of games he liked while glossing over the thing he claimed the video was about. Not a great first impression.
Came in here to say the same. And I wouldn’t usually bother, but your general quality of production is really quite good, so keep at it, just focus on your messaging and litmus test the content against this message regularly to validate relevance and whether it supports your assertion or not.
@@n3onkn1ghtImma be real, I'm not a fan of pojr. But I watch them to pass the time. Hes definitely for room to grow, though. Like having some background music while he speaks. Or better and longer choices of music clips (one in particular was just a repetitive sound effect).
No, most of them sucked ass unless they were coming out of the demoscene. I can do better than they can with the same tools and zero experience. The ones that didn't suck were using paid libraries from professionals that already came with all the tones they needed.
@@StevenCusicMML is just a language: an abstraction. there were plenty of ways to create sound code without using MML. that being said MML rules: I learned a few flavors for multiple systems around 2005.
@@StevenCusic you have no clue what you're talking about because everything you said pretty much is false. OPL chips and OPN chips (aka ym2612 which was OPN2b) are fairly similar. OPL chips are simpler and less capable (at least in the early days anyway) and had a difference in how sound was created - but not THAT different. if you know how to use OPL or OPLL chip, it's not hard to learn how to use OPN. the way you program those chips to generate sound, such as MIDI or MML are just different abstractions, they can be platform dependent but they have nothing to do with the chips and everything to do with the tools that were available or popular. Yalaha chips take in commands that are far far simpler than anything like MML or MIDI, and even between chip families are far more similar too.
further. Some developers on the Genesis used MML-based tools yes, but it was far more common that the actual sound programming on the console was done in a special format designed for each sound driver. we have proof of this with SMPS/Easy Sound which was the default sound driver SEGA supplied for Japanese developers. We have leaked devkits with the tools they used to create the sounds in the games. they DO NOT use MML. Whether MML was used while initially composing the pieces can't be known for certain, but in some cases such as with Sonic the Hedgehog soundtracks, we know this is not the case
“American companies” “American companies” “American developers” “Now let’s have a look at a few random games” (Immediately shows “Fantasia”, a game by Infogrames, a French developer…)
I'm still not sure why Sega didn't make multiple audio drivers available for free for all developers. I'm pretty sure they had ears and was aware that screechy-farty music is NOT OK for the reputation
Yeah, I kinda agree the title is a bit click bait'y, it's true that the program was a double edged sword though because without it those games just wouldn't have been able to come out or would take loads more time figuring out how to make music for them but they do at times sound samey or bad. I guess the title of "this one program on the megadrive was a double edged sword for developers... " Might have been a bit more accurate? Still though, a good video created with a lot of effort and research.
Kind of a weird video. I thought this was going to be specifically about GEMS and how it shaped the music/sound for those games. But instead it was just an overview of a bunch of games with little focus on the music.
Farting sound is caused from FM synthesis, not only GEMS. You can avoid it, just like the snow bros did (the best game audio in genesis). But most sound engineers didn't avoid it because lousy genesis fans loved the farting sound because "it is fm's signature" and "fm have it's own style". Even if it missing frequencies, even if it missing range. Why snow bros? Because FM is not for drums so they used samples for drums. Also, original snow bros arcade didn't have drums in its music. So they bravely decided to add drums to tracks, in a machine that is not made from drums. So they sacrifice the sample channel. Genious and brave idea, that's what you get when you use your mind to overcome limitations.
@davecool42 Yeah, it's a shame... while it was an entertaining video i really wanted to see why GEMS "ruined" them by showcasing the program itself, instead we got a misleading title... well, it's not unsurprising really since YT nowadays is all about click-baits :/
With a title so focused on a specific subject, I was expecting to learn more about GEMS. I feel like I hardly even got to listen to the sounds produced by GEMS in this video to be able to gain an ear or compare the songs. It would be very cool to delve into what the experience was like using GEMS or maybe even see it in action, compare it to newer tools, show how it was lacking in sound design features on such a robust sound chip, etc.
Dude, you are sleeping on the Vectorman soundtrack. That is a very good example of a game that not only uses GEMS but also utilizes it to its full potential. Tidal Surge is an excellent example of this. See or rather hear for yourself.
@@MSOGameShow I scratched my head when he was like "Jurassic Park is one of Blue Sky's best games". Ehh, I mean, if you ignore the two best games they made, maybe.
Vectorman definitely didn't utilize it to it's full power, but it's one of the best examples of utilizing the sound chips and GEMS well. Really hate when people say GEMS is bad because arguably it's actually much better than what the Japanese had to work with. well made tool with very much potential, only issue is that a lot of the talented musicians came from Japan who had frankly terrible tools to work with. We needed more hits like Cool Spot, Aladdin and Vectorman to make GEMS shine
I agree, although, GEMS absolutely does have a specific "sound" and I don't believe it really uses the FM synth to its fullest potential. GEMS can do well, but you'll never get something the quality of what Yuzo Koshiro can do
I have two comments about the origins of the GEMS driver that should be mentioned. It wasn't a "desperation" move by SOA, as the idea actually originated with former Epyx composer Chris Grigg. He argued that a dedicated sound program would be more efficient than typing everything in hex code and converting it. He proposed creating software that would allow the Genesis and a PC to work together as a MIDI synthesizer. American programmers didn't use GEMS because they didn't know how to use the Genesis sound chip. They were quite capable, actually. The reason for GEMS was the lack of English-language documentation for the Genesis at the time, most of which wasn't even official. For instance, Jonathan Miller said that the only documentation he received for the FM synthesizer chip was a hand-written memo note in Japanese. Many composers simply didn't have access to the advanced features of the soundchip because of the language barrier and cooperation from Sega Japan, so they made a driver themselves.
People have to stop blaming Japan for everything. You're only really going on heresay. The YM OP range of chips had been around for a while and they all work the same way. Any composer working with the Yamaha FM chips should be well versed by at least 1991. Which include a range of computers, arcades and pro audio equipment, as well as Adlib and Soundblaster from 1987. Although PC-DOS music is all general midi standard, so drivers tended to be designed for simple reading of midi files, which were composed in a way to be as compatible with 3rd party midi instruments and not any specific YM chip. Unless you were Cryo and insist on making a custom Adlib Gold driver for Dune on PC in 1991. Also making a driver for the Mega CD. But people tended to just operate within the presets. No fancy lfo's or envelope nonsense. But yet the UK devs seem so much better and it wasn't all Krisalis. Or was it? Maybe it was a bit.
@@iwanttocomplain I'm going on what the people who actually developed GEMS told me themselves, so I think it has more weight than just being heresay (although the lack of English-language documentation for Genesis was a common problem overall early on). I don't think it's just "blaming Japan." Yes, SOA did a lot wrong, but SOJ wasn't perfect and made plenty of mistakes of its own. Griggs and Miller weren't SOA employees or executives.
@@Melf00 SoJ this Nakayama is a dick head that. Kalinski is a greek god that. It's super clear to me that Kalinski might well be one of the worst managers of all time.
Did the Genesis use the same sound chip as the Commodore Amiga? It would explain why very few UK/European developers used the GEMS system for their music. BTW, you really should consider avoiding using "Very" and "Really" in scripts, a lot of professionals never use the words whatsoever.
No, I think genesis uses Japan Tech, while Amiga uses US tech. Though pcEngine is quite close to Amiga and SNES could emulate Amiga perfectly thanks to Sony .
is that true? can you tell me why that is? come to think of it i dont recall hearing it in alot of vids. you learn something new every day! and also, hey you!
Genesis uses OPN2, which is quite similar to the OPL2 chip on the Adlib and Soundblaster cards for Dos PCs. The Amiga doesn't support FM music at all, but Amiga devs also made PC games, so they may have gained experience with the chip that way.
GEMS is most noticeable by the way it makes music. It is based on the general midi standard, which is 128 instrument 'patches' that are a standard used by all products which use midi, which will have pre-made patches to fit whatever number instrument is being asked for by the midi composition file. So a grand piano can be approximated across any digital instrument, using the midi interface and protocol and file type. So when a musician composes music using GEMS, they are able to attach a standard midi keyboard and write music, which can be played back using the GEMS sequencing playback capabilities, another piece of software that doesn't need writing, along with the drivers to generate the FM sound itself. The Adlib sound card came out in 1987 but before that even, was a Yamaha MSX style computer with a similar chip to the YM2612, maybe 6 channel, 4 op and with sequencing and sound design software and a UK game musician, I think Matt Furniss, used to sell them before he became a composer. The main reason that GEMS music sounds different is also the reason EA music is also a bit different and it's that they are using a stock piece of software which is designed for quick compositions. The GEMS driver did in fact have a feature rich environment for sound design, as well as cues for altering music in various ways for an interactive soundtrack, which nobody used. The point is, GEMS made it easy to write music quickly (despite it's instability). You choose your instruments, write some melodies and drums and it's ready. How this style of music differs to writing music using say your own custom software or a complicated tracker or just writing in machine code in a wall of asci text in software you helped write. When you use midi, you disconnect yourself from the hardware and it's potential. In terms of sonic range and palette, to pushing the technical capacity. Something very achievable on this old, raw to the bone programming a Genesis needs. The YM2612 can be run by the Z80 or the 68K and can have up to 14 channels if you include the psg. People write techno music in trackers. In fact trackers made all the 8bit music and all the 16bit dance music. Trackers became a fairly popular product in the past few years for the reason that it lends itself to long form compositions with an ease of adding effects and pitch bends and such with a very quick workflow and overview and speed of 'chaining' sections or patterns to form the final composition. When you use a text based interface rather than a traditional stave, you have access to more additional effects and techniques that are awkward when you're using a mouse to move notes on a screen. This is how you get the awesome technical compositions of Technosoft and Konami. They understand the potential of the format of an fm synth, which is how they understand how to write suitable music that plays to it's strengths. A favourite sound driver of mine is the Krisalis driver from uk studio of the same name who were a contractor who would cover all your Mega Drive sound needs. Vic Tokai wrote a fabulous driver and Socket is a joy to listen to. Because the FM synth is a strange and arguably complicated thing. But if you have a driver in place and have been tutored on how it works, most composers should not have to spend too long understanding the software. But GEMS is perfectly fine software. It just limits the finite control of the chip and encourages a particular type of compositional style that is synonymous with midi, and that trait is simple musical expression, with limited flourish or nuance, stemming from the working environment of staves and a fully linear sequence of notes, without complex pattern sequences or a broken out visual layout with fast access to advanced, note per note editable characteristics such as instrument, note on/note off, fades. echo. effects (such as additional lfo to apply to attribute/s of the fm patch). The potential of the FM chip here is not something that can really ever be realised, as a 4 operator FM channel offers unlimited sound design potential with 4 algorithms to alter the way the operators interact and 8KB of aram on the Z80 or more if you use the 68K cpu as a controller instead of the standard Z80 sound controller. There are any number of ways to go about programming an FM sound chip and none of them are easy. But people are still writing drivers for the YM2612. I think chiptune artist Remute wrote a driver for it. You can just use Deflmask free tracker software which give some good sound design and sequencing tools which should be enough for most people. A new driver has been released only recently which is the most famous, 'XGM2'...? I think this is why people still like composing for the YM2612, which has two products available based on it for a consumer and professional market, respectively as physical modules, instruments called Mega FM and a much newer one too reviewed by Lord Carnage who made a terrible tune on it. But I like how people are making music for this chip like crazy right now. It's very interesting to explore the palette or re-write classics like Blue Monday or arcade hits, using various different software and methods to get different results. Enjoy this rendition of XEXEX using a modern driver, splitting the pcm channel into 4, 14Khz channels for one shot notes (which cannot be pitch shifted as per a rompler so must use a new sample for each different note) and other tricks such as splitting channel 3 into 2, 2 op channels (instead of 1, 4op channel) and other refinements to enhance the capabilities of the chip. ua-cam.com/video/k0PvjwqtHqI/v-deo.html ua-cam.com/video/0mAtYZg_lkQ/v-deo.html Have you listened to the music for Psycho Pinball? It's a very distinctive tracker sound and Epic Games were also lovers of the tracker, which they used in the Unreal Tournament soundtrack, as opposed to the standard cd redbook audio. You probably heard the Time Trax unused Genesis ost which uses a driver which was only used on that ost which wasn't even released. So oh well, but it shows that a British developer can make a new Genesis sound driver in pretty short order. The EA driver was written by Rob Hubbard who was famous for C64 music and also is British. But he moved to America to work for EA. I think Rob is obsessed with distorted guitars. Ecco the Dolphin was made by Novotrade, from Hungary and Sega of America in support and consulting and the soundtrack is GEMS, with major contributions by Spencer Nilson of STI. The founder of Novotrade actually came up with the idea for Ecco the Dolphin himself. I can't get enough of Mega Drive music and the YM2612. It is a very well design music chip. With clear channel and frequency separation and frequency response, it's almost impossible to f*ck it up. I really enjoy many GEMS soundtracks, for instance, Ahhh! Real Monsters is really enjoyable to listen to. The reality is that GEMS and the FM chip have been unfairly maligned and it might be something to do with a rival fanbase and their most vocal and inflexible opinions on certain matters involving who's is bigger. "Of _course_ everyone _knows_ the SNES blah blah blah". But GEMS isn't ruining games any more than the guitar ruined bad songs. I'm starting to warm to GEMS and it's inexplicably and irrationally heavy use of the Marimba preset.
I agree to your point. Only innacurate information here is the number of channels the chip is capable of reproducing. The Genesis/Mega Drive had a total of 10 sound channels available. 6 FM channels, being the last channel capable of sample playback by turning on its PCM mode (optional. You can use it as a sixth FM channel if you wish). And the remaining 4 channels are PSG. This if you don't split the PCM into more channels by using a proper driver, as you pointed out.
@@vinisasso the psg chip can be set to play a sample but that fully occupies the Z80 though. I was being accurate with my number of potential channels on a stock Genesis. But, technically, channel 3 can split it's operators into 4 simple sines that aren't mathematically related. So if you count channel 3 and 6 as four channels each, including the psg is 16 channels potentially.
@@iwanttocomplain oh, I see...that feature of the third channel...I heard about it before, not sure if I ever saw that happening in a commercial game, this is why I didn't count them. Regarding the PSG, that's true. After Burner II plays its drum samples with this feature, and it's not too terrible IMO. You know many games where regular PCM samples (played back from the FM channel 6 DAC) sound too scratchy and quite compressed already, but anyway, this also tells us a bit about the phenomenous potential of the sound chip.
@@vinisasso I don't think the de-syncing feature of channel 3 was well documented. Modern drivers push to potential of the system like XGM sound driver. The psg chip can play a pcm sample. Channel 6 can also, by reducing the frequency and multiplexing the playback. PCM playback wasn't that easy. Early drivers might struggle. Other's might give you pin perfect reproductions on their first attempt. Generally space was saved by reducing the frequency from an 8bit sample. This wouldn't be possible with a 4bit sample, as adpcm really is needed to reduce the noise. GEMS has actually great sample playback. You don't generally compress Mega Drive samples because there is no hardware decode feature for adpcm but that could be run in software.
I had no idea the bad quality audio was simply due to not knowing how to utilize it properly. I thought much of the audio was just supposed to sound the way it did. That might also explain why audio on some of those Genesis mini consoles, official or bootleg, don't have proper sound. I had to shut off one I had as soon I tried to play Sonic 1. The music was so much worse than the cart.
For similar reasons, the chip itself is just difficult to emulate as well. It's difficult to predict how something may sound coming from it because the way it works is unintuitive.
@@AeduoActually the genesis audio system is standard for the time. FM Sound Synthesis was used in Arcade and Pc games at the time also. The genesis was considered flexible and rather good for the time. Emulation of the chip isn’t easy but it’s not too hard now since the documentation and resources exist for accurate sound emulation.
@@waterheart95 PC games which supported FM were just using some crusty translation from some common format so it tended to sound like crap. Arcade used it a fair bit true.
I felt the same, also, I would've loved to hear more music comparisons and less about how the game looked or played Not trying to be rude or anything, just a comment
Yeah, was about to write the same. The title was misleading. There is only 20% relevance. Also the samples used weren't convincing and weren't compared enough to make it clear what gems is all about.
I wish you expanded on the audio. I was curious about the bad examples and what made GEMS so different from the standard music making process. Most of the video is essentially game reviews of games which use GEMS, which is fine, but there should be more information about the audio. What works? What doesn't? How does a "good" use of GEMS sound compared to the infamously "bad" uses of it? I'm also curious about the mechanics of GEMS, and how it got made. There's a lot that could be discussed!
If people knew how complicated FM synthesis and algorithms were especially with the Yamaha chips back in the day then they would have a lot more appreciation and gratitude for what those composers went through in building decent songs and sound effects on the Genesis. But yes, many of the Japanese game developers had cut their teeth on the Japanese computers in the mid to late 80's like the PC88 and PC98 that contained Yamaha chips similar to the one used in the Genesis. Many of them also had relationships with Japanese Arcade machine programmers who gave insight, documentation and offered tools to make crafting the sound easier. The only Western company I can think of that had Yamaha experience was Atari Games and that's why their Genesis Tengen ports sounded so good. Anyway, GEMS was a massive time saver and if you're an upstart company on a budget back then, you don't have time for the composer to reinvent the wheel or waste time fiddling with FM settings...you are trying to get your game finished by deadline, out the door to manufacturing, and on the shelves in a few months to hopefully recoup the investment.
I implemented a basic 2-operator FM synthesiser in PureData comparable to a single channel of an OPL2 chip. It ended up with over a dozen controls to play with. So, yes, I can confirm the complexity adds up pretty quickly. I think I spent more time positioning sliders and other interface objects on the screen than making the actual synthesis logic.
@@Roxor128 Yes indeed! I've never used PureData before but I have experimented with a VST called OPNPlug which is identical to the YM2612 in the Genesis and a tracker called Furnace that supports the Genesis chip. The YM2612 is like a cousin to the OPL2 where it's limited to only sine waves and has 6 channels instead of 9, but the tradeoff is each channel is 4-operator and 8 different algorithms which leads to a bigger variety of sounds. But, with more operators and algorithms comes more tweaking and time investment. Another tradeoff with the YM2612 is the 6th channel doubles as the DAC that plays audio samples like voices or drums. As it plays a sample though it cannot play FM so you temporarily go from 6 melodic channels to 5. So some composers would flip-flop and actually pack in a few notes in-between the drum samples hitting on the down beat which is insane lol. 😃
I'll be honest, none of the music you played here sounded good to me. Would have been nice to compare it with the music of Genesis games that did not use GEMS.
I also want to add that Japanese xenophobia and racism against western developers was also a fact for Sega (and other Japanese developers of the time, like Nintendo) to withhold vital development information for their consoles to non-Japanese creators, hence why Sega had to develop a low-rent solution for western developers to create music.
i think thats gatekeeping information to maintain and defend their position in the gaming industry (a common corporate practice in all industries), more than "xenophobia and racism" tbh... but you can interpret it as you want
@@eucalipto9724 Maybe you are right, but keep in mind, at least in the 80s and 90s, it was considered "normal" (at least in that era) for Japanese VG companies to withhold the complete information of their consoles to western developers, while the Japanese ones had complete access of that info without any problems, partly because of the aforementioned problems, and partly because they thought western developers were inferior to them, a feeling shared with many people, including western players, in that time. This kind of mentality was the reason why many people mocked (and with a good reason, at least in this case) the Atari Jaguar, an American console, and the MAIN reason why the Xbox brand had an uphill battle at first in order to show that an American console can produce good games.
Then of course you have Sega of Japan jealous that the console was successful in North America and not Japan, so they made the Saturn specifically to appeal to Japan at the expense of other markets...
This was an interesting video and I really enjoyed learning about GEMS, your narration was very good as well. If I have one criticism, you really didn't let the music samples play for long enough for me to get a very good idea of how each game's music sounded. I understand if this was to avoid copyright detection, but yeah. Other than that, still a solid analysis, really enjoyed it.
FM synthesis is also just remarkably difficult to work with, so even if the application wasn't the problem and allowed good programmability of parameters, it's still going to be difficult to get the sounds you want out of the chip because it's so different than the way we normally work with instruments and think of sound. It's more of a compromize which made digital synthesis of complex timbres possible within a relatively low-cost chip (though it was quite expensive when it was introduced), but it forced musicians to work on the terms of the technology, rather than the technology meeting musicians' needs directly. But yeah in professional settings with musicians in the US, we probably had primarily moved on to samplers and wavetable synthesis by the late 80s, with a lot of western productions maybe using some presets on a DX7 as the extent of late late 80s/early 90s FM-synthesis-using electronic music. and yeah writing up a tool for setting up patches and compositions is just probably not worth it in most cases when something already exists.
The problem may be with the music editor giving non-musicians a simple enough tool that they could do their own music without contracting a specialist. Most synthesizers of the time came with lots of terrible presets. And the tracker programs used for programming many video game soundtracks were limp unless you knew all the effects. To get the best of them, really took digging into customizing sounds to your own compositions (and having a some musicality and sound design talents)
Pretty sure it's the exact opposite. The goal was to give people who were trained musicians and composers but with limited computer knowledge the ability to produce tracks with the same MIDI tech common in the mainstream music industry. That would also explain why so many games seemed to keep all the instruments on default. It's also why European developers who usually had a demoscene background and Japanese companies with dedicated sound departments didn't suffer the same fate.
@@stevendobbins2826 This is like a theory I've had for a long time: video game composers breaking into the industry in the early '90s, in the US especially, were increasingly coming from traditional music backgrounds rather than programming ones. They may have been talented composers, but they weren't well versed in sound design and getting the most out of limited hardware. Software like GEMS helped them compose easily, but they lacked the skills to really take advantage of the hardware. Also, I don't think it's a coincidence that some people have criticized keyboard players from that period for not being able to program synths. Popular '80s synths like the Yamaha DX7 and the Roland D-50 were a headache to program, so most players just used presets rather than creating their own sounds.
The biggest reason for the weird sound is the fact that FM Synthesis was a bitch to program, even on full-blown synthesizers like the DX7 (in fact, most artists just stuck to the presets). The primitive interface of GEMS certainly didn't help
To those who still say that GEMS sucked overall: A tool is only as good as its user. Don’t blame GEMS; blame the composer. Tommy Tallarico (Global Gladiators, Cool Spot, Aladdin, Earthworm Jim) is one of the few composers who used GEMS to its highest potential; in fact, he outright said that GEMS is his favorite development tool for composing his Genesis music.
I’m sorry but I’m gonna echo the sentiment in the comments already here, there is basically no interesting information on the music here, and I don’t think people clicking on this care about these random games or their mechanics.
FM synthesis in general is hard to nail. And Yamaha's original chips had tons of parameters to play with, so no wonders that composers struggled with it. As a music producer myself, I finally understood how to apply FM synthesis after 5-6 years of programming synthesizers.
You know watching this reminds me of three SEGA of America games that didn't use GEMS, despite it being used for mainly them and western/American developers. Anyway, those three games are Sonic the Hedgehog 2, Sonic the Hedgehog 3 and Sonic & Knuckles. We know Sonic originated in terms of development in Japan, but Sonic 2, Sonic 3 and Sonic & Knuckles was developed by STI (SEGA Technical Institute) which was part of SEGA of America and Sonic Team USA which is also part of SEGA of America. They all use SEGA's SMPS sound drive which was developed internally over at SEGA in Japan.
I think SEGA designed the Mega Drive mostly with Japanese sensibilities in mind. Both the 68000 and Z80 processors and the FM soundchip along the PSG one. After all they wanted to make easy for arcade and PC developers to port and develop games to their console already knowing those off the shelf parts. FM synth sound chips were the main source of sound for basically almost all PCs and arcades at the time in Japan so of course most Japanese made games sound really good, just like the arcades or PCs because they really knew how to work with FM. But the Mega Drive became more popular in the west than in Japan so the focus was on the library of games developed in the US and europe and as mentioned in the video, the west wasn't too accustomed to FM sound chips like Japan and it shows. Sure it all depends of the programmer/musician to bring the best of any sound chip and tools but if they didn't had the experience and the time (not counting the will) to work and learn of course companies will get the cheapest and easiest solution.
This video needed far less talking about how the games played and how good they were and needed more music samples. The entire section about companies that didn't use GEMS didn't have a single music sample so the viewer is left without a comparison. Sharing the Aladdin stage skip code came out of nowhere.
The difference between the bad GEMS music and the good GEMS music is that the bad ones used the default built in instrument sounds that came with the program and just used it like a sequencer without changing anything whereas the good ones edited or designed their own instrument patch sounds using the ADSR and operator editor
Seriously? No one has commented on the brilliant ABBA reference POJR made? "Thank You For The Music" made me smile, nice one! I know very little about programming video games but I imagine file size came into play when making music. I used to make electronic music in the mid 90's on "trackers" which had all sorts of limitations especially due to file sizes. There are some composers who can do unreal things with the tiniest sound samples and take up the smallest of file sizes. Then there were those like me who relied heavily on the larger samples and then were restricted by limitations. I think this came down more to the imagination of the composers and also likely the direction from the programmers. You could still hire Beethoven yet tell him to make "circus farty clown music for the kids" and they'd have to do that. Great episode, thanks POJR!
I wish we had an NES equivalent to GEMS for music producers. I heard that there is one program but it's hardly MIDI piano roll. It gets the instruments right, but it's difficult as hell to write for.
So is this a video about the software or a video about short descriptions of games that used it with one or two sentences each about the quality of their music? It's framed like the former but the video is the latter. I don't understand what the point of even bringing in the audio is. This video is not about audio.
Script sems very "AI-"Assisted"" (even if it wasn't) through the way you repeat random sections seemingly for no reason and go on tangents reviewing the games and justifying their importance which has nothing to do with the point of the video, as well as the out-of-place facecam intro which doesn't have any reason to exist other than because other UA-camrs do it. I don't mean this as a hate comment but as feedback that you should simplify your script to make the video more relevant to what people clicked on it for; longer viewer retention is more important than longer video length, so unnecessary padding and repetitive presentation hurts engagement.
The music is the least problematic issue with Fantasia. It's certainly not the worst Genesis game there was, but the fact that Sega Japan had hit such a high bar with Castle of Illusion, had people's expectations very high. Instead of making GEMS for western publishers it would have been a better idea for them to offer help with their sound creation and translated SDK notes which helped so many Japanese Mega Drive composers. The only good GEMS sound were from more technically advanced companies, such as Shiny/Virgin (David Perry), and (Donald Griffon, who was key in changing many of the default GEMS sounds and PCM samples to help it sound MUCH better. Though Tommy Tallarico is the one who always gets the credit for those games.
A nice video, but this seems more like a bunch of reviews of various games with the GEMS stuff kind of tacked on. The video’s title is a bit misleading because there is much more content on the games, rather than the game’s music and the GEMS program itself. Just trying to offer constructive criticism.
A lot of western developers who used GEMS did create a lot of low-effort soundtracks. There were also a few 32x games that incorporated GEMS into their games. Did composer have enough time to learn the program to spend time composing instruments instead of relying on the default ones provided by Jim Hedges? Not sure.
nightmare circus and comix zone are my favorite and imo the best gems soundtracks. it was a slightly janky driver, but it exposed almost all of the features of the hardware. the limitation, as it is often, was the user. and for whatever reason few american game composers were interested in mastering fm synthesis despite japanese games consistently showing them up in terms of audio.
Nvm the fact Tommy Tallarico is a hack, but his work (or whoever was working for him...) on Earthworm Jim was excellent. Rare instance where the Genesis version was better than the Snes version.
Pojr: Gems ruins games Also pojr - showcases just one game (fantasia) which is bad whilst a load of others where it's ok to decent 'despite being built on gems'. I'm not sure if your title was intended to be clickbait or to dispel a myth/trope - you definitely should've included some more bad games either way and you still could have reached the same conclusion.
What funny about Taz Escape from Mars is that it’s a sequel to Taz Mania which not only also used GEMS but it was made by Recreational Brainware who made GEMS. And it was there only game they made. Ironically enough the music was pretty bad. Although they did outsourced the music to Nu Romantic who also known for the music on Chakan the Forever Man
GEMS fell victim to the tyrrany of the default. When they made the software, they created a palette of sample effects and tones as examples. They were meant just to show that things could be customized. A lot of people who worked with it, though, never took things further than that. The ones that did, though, as you heard, got great results out of it. GEMS is a tool, like a Hammer. Having a better Hammer doesn't make someone inherantly better at driving nails. The same is true with audio software.
Once it was known that GEMS was used for the Genesis port of Action 52, GEMS started to become the target of hate from a lot of gamers. I've seen the list of GEMS-based games, and it's very much a mixed bag. I unveiled the existence of GEMS by pure accident; I was doing research on the only Awesome Possum game, and the sound engine was credited as GEMS. The game engine has framerates that go from 30 FPS to 0.5 in a split second, and the digitized sound is purely to blame, it appears. You can get better performance by disabling the Possum phrases in the menu ... and many people did.
There's a simple standard for figuring out whether or not a tool is well designed or not. If the average creative cannot get good work with that tool, then it's bad.
Even to this day, sculpting decent sounds with FM plugin synths on a modern computer can be unwieldy. It makes sense that a lot of musicians back in the day would default to using the available presets (and it makes sense that the programmers who made the software didn't make phenomenal presets). Different skills. I wouldn't blame the software, nor the musicians. It takes time to get good at a whole new system, and FM is not intuitive unless you force an intuitive UI onto it, which is difficult in itself.
Місяць тому+1
I think it sounded great, never thought it sounded like farts, never even heard that claim until message boards in the early 2000s. But thats pretty much everything in the retro community, Nintendo glazers rewriting history because "winning" wasn't enough for them.
You can tell it's GEMS when the music is trying to sound like sampled instruments, like the SNES. Games that don't use it take advantage of the fm synthesizer.
"do you have something to add in the comments section, put it below!" My Brain : *fart noises* No but seriously, cool video and as a few others pointed out the title is a touch click baity but having seen a few of your videos come by, I love the amount of effort and energy you put into them, will be subscribing for more hopefully.
The problem with GEMS is that there's a limit for how good a game can sound, but not a limit for how bad it can be. And even Japanese devs dropped the ball from time to time. Capcom for example seems to even regress from sf2 to ssf2. Genesis sound is a really chaotic matter. But it shouldn't be, Yamaha and FM chips were already widely used all around the world. Strange stuff only Sega fans can experience.
If you're reading comments Each time text shows up, there's a little horizontal line at the right side of the screen. Please fix, it's driving me crazy.
"The music is some of the worst I've ever heard on a console." (proceeds to illustrate this point with an entirely decent-sounding Genesis rendition of The Sorcerer's Apprentice) ...Seriously, having never heard the music from Genesis Fantasia before, I'm trying to figure out what's wrong with the track you played as a sample there -- it's recognizable, competently paced, and uses instruments that have both dynamic impact and playful appeal. It's not a match for the version played in the movie, but as game BGM, it's honestly everything I could really hope for from a console version of The Sorcerer's Apprentice! I'm scratching my head trying to figure out what makes it "the worst you've ever heard on a console." Also, you bring up Bubsy not being known for its music, but... Bubsy 1, on SNES at least, has a pretty darned good soundtrack IMHO! The final stage theme in particular -- the Woolies' spaceship -- gets randomly stuck in my head a lot. Never listened to the Genesis version for comparison, and I'm sure I wouldn't like it as much (I rarely pick the Genesis version of a soundtrack over its SNES counterpart), but I should do so and see if they managed to at least hold their own with it. Definitely a game with an underrated soundtrack, I'd say -- and an underrated game in general, for that matter. I will die on the hill of claiming that Bubsy 1, at the very least, is actually a pretty fun and rewarding game, which I legitimately played to completion and thoroughly enjoyed as a kid. EDIT: Wow, just gave a brief listen to the Genesis Bubsy OST, and... yikes. Yeah, they REALLY didn't put any effort into that whatsoever! Do yourself a favor sometime, and listen to the SNES OST for comparison -- particularly the final stage theme, "Day the Wool Stood Still." And remember, as you listen to it, that it's a space-themed level where you're on spaceships and out in outer space for most of the stage... and yeah. It's just a really catchy theme! Not going to be winning any awards, but I always found it appropriately "epic" in scale and tone.
You missed a pretty big one that doesn't use GEMS and is a great example of what the console can do without it. The Sunsoft Batman game. The music in that game is incredible. Not Batman Returns...it was just called Batman: The Video Game.
2:45-2:48 Actually, Fantasia used an audio driver that was pre-GEMS. It still sounded horrible, for sure. I should know because I was one of the kids growing up in the 90s who had the great misfortune of playing that mess of a game and having to listen to the awful synthesized musical arrangements.
some games were identical to the Snes counterparts, but the music was so awful, they were considered inferior just because of that. That Death of Superman game had good music on Super Nes but on Genesis it sounds like someone just experimenting with a keyboard while drunk, it's so bad.
@@pojr Dude, there’s one game… I don’t remember which one… I think Gamesack covered it, but the soundtrack basically sounded almost entirely of wet farts… hilarious 😂
I'm sure the program gave access to all or nearly all of the FM sound chip's parameters. A good team will create their own presets and instrument templates to tweak into various non-fart-based sounds. FM synthesis is versatile but some experience is definitely important.
Aint the tools, it's how ya use it! GEMS users really were put to the test with such an FM based sound program and hardware. FM happens to be some of my favorite class of synth and plenty of music apps have at least one of these FM capable VSTs with it
It really depended on the game. The gritty, rough sound of GEMS could sound great in games like Comix Zone but terrible in games like Batman Returns. Desert Demolition is an awesome example of a licenced game. It's extremely faithful to its source material.
- Video is about GEMS but spends 80% of it reviewing the games and not talking about the music - Claims GEMS is terrible but enjoys the soundtrack of every example he shows except for the first one
When I think of GEMS I think of Sonic Spinball. The Options music is the worst offender in the game and it sucks since under that rough, crating exterior is a nice melody. Though I'd argue it actually fits the game, since the opening levels take place in a dirty sewer and a run-down looking factory.
Gems was an amazing program, just many people used the same stock sounds and samples to save time, like any daw you can create amazing music from it, just takes time alot of 3rd party games didnt have, mainly licensed games as they would have to be on a strict deadline to get it out within the product release
i am in the same boat with FM music. the NES is just way easier to program music for. that's the reason most SEGA 16-bit osts i love are from SEGA themselves. Castlevania Bloodlines is a huge exception. and ... also the simpsons, for some weird reason...
12:11 Okay that one sounds way better on the Super Nintendo. Anyways thank you for this video I now know why some music just sounded so weird on the Genesis. I mean I already knew that the Super Nintendo had better sound quality than the Sega Genesis that is for sure but it sucks that on Sega they had to deal with such limitations. At the very least a lot of companies seem to have been able to make the most out of the software though 12:31 Oh yeah but earthworm Jim that game surprisingly I find the music to sound a lot better on the Genesis than on the Super Nintendo but then the sequel earthworm Jim 2 sounds a lot better on the Super Nintendo than the Genesis.
Sonic spinball has a great soundtrack considering it used GEMS Listen to the studio versions of songs like toxic caves and lava powerhouse. It sounds exactly the same lol
Aladdin is like how a world class violinist can make a cheap violin sound great but your average fiddler couldn't make a Stradivarius sound like anything special.
Thanks to Donald Griffin who actually wrote the good music in Aladdin.
My boi Tommy! 😂
Camel Jazz go way too hard man.
Errr as a mediocre violinist i think this is inaccurate- the better the violins ive played mostly sound better even played badly. Exception being if the strings are a different style than the player is used to...
@Mattaaron6142
🤓
Was definitely expecting more about the program based on the title, rather than a series of game reviews.
yeah the direction with this video was a bit awkward, im interested but still know almost nothing about the program
Yeah, this video showed up in my suggestions. Starts off with the guy telling us to follow him, then just lists a bunch of games he liked while glossing over the thing he claimed the video was about. Not a great first impression.
Came in here to say the same. And I wouldn’t usually bother, but your general quality of production is really quite good, so keep at it, just focus on your messaging and litmus test the content against this message regularly to validate relevance and whether it supports your assertion or not.
Having gone through a few of his vids, this seems to be the general pattern =/
@@n3onkn1ghtImma be real, I'm not a fan of pojr. But I watch them to pass the time. Hes definitely for room to grow, though. Like having some background music while he speaks. Or better and longer choices of music clips (one in particular was just a repetitive sound effect).
It's weird that American devs had so much difficulty with FM audio considering most Ms-Dos games and arcade gsmes of the time used FM audio
No, most of them sucked ass unless they were coming out of the demoscene. I can do better than they can with the same tools and zero experience.
The ones that didn't suck were using paid libraries from professionals that already came with all the tones they needed.
@@StevenCusicEven the proper Yamaha synths were a pain to program sounds for. So many bands just used the built in presets, or bought preset carts.
@@StevenCusicMML is just a language: an abstraction. there were plenty of ways to create sound code without using MML.
that being said MML rules: I learned a few flavors for multiple systems around 2005.
@@StevenCusic you have no clue what you're talking about because everything you said pretty much is false. OPL chips and OPN chips (aka ym2612 which was OPN2b) are fairly similar. OPL chips are simpler and less capable (at least in the early days anyway) and had a difference in how sound was created - but not THAT different. if you know how to use OPL or OPLL chip, it's not hard to learn how to use OPN.
the way you program those chips to generate sound, such as MIDI or MML are just different abstractions, they can be platform dependent but they have nothing to do with the chips and everything to do with the tools that were available or popular. Yalaha chips take in commands that are far far simpler than anything like MML or MIDI, and even between chip families are far more similar too.
further. Some developers on the Genesis used MML-based tools yes, but it was far more common that the actual sound programming on the console was done in a special format designed for each sound driver. we have proof of this with SMPS/Easy Sound which was the default sound driver SEGA supplied for Japanese developers. We have leaked devkits with the tools they used to create the sounds in the games. they DO NOT use MML. Whether MML was used while initially composing the pieces can't be known for certain, but in some cases such as with Sonic the Hedgehog soundtracks, we know this is not the case
“American companies”
“American companies”
“American developers”
“Now let’s have a look at a few random games”
(Immediately shows “Fantasia”, a game by Infogrames, a French developer…)
Even after this game, Infogrames still uses gems😂
Which is weird, because European developers were very familiar with FM sound chips thanks to their common use in 8 bit micros.
@@AltimaNEO well, you can thank sega for ruining the sound of an entire company (Infogrames)
@@AltimaNEO there's also domark (now Eidos) who used gems on some games like... Mark's magic football
I'm still not sure why Sega didn't make multiple audio drivers available for free for all developers. I'm pretty sure they had ears and was aware that screechy-farty music is NOT OK for the reputation
Bro said GEMS ruined many Genesis games despite having only one example for it
Yeah, I kinda agree the title is a bit click bait'y, it's true that the program was a double edged sword though because without it those games just wouldn't have been able to come out or would take loads more time figuring out how to make music for them but they do at times sound samey or bad. I guess the title of "this one program on the megadrive was a double edged sword for developers... " Might have been a bit more accurate?
Still though, a good video created with a lot of effort and research.
Kind of a weird video. I thought this was going to be specifically about GEMS and how it shaped the music/sound for those games. But instead it was just an overview of a bunch of games with little focus on the music.
Yeah, I'm not sure what he was trying to do here.
POJR almost never talks about what he puts in the title.
Yeah, I feel this was a waste of my time as well.
I came here to learn about GEMS, not find out about the games this dude played as a kid.
GEMS’s farting sound was actually common in other FM-sound-based games from American companies, such as arcade or DOS games.
Pretty good exception for the MS-DOS are Tyrian, Dune, Dune 2, etc.
I actually really dig it, I think it's charming. I can think of 720º on Arcade by Atari, as an example!
Farting sound is caused from FM synthesis, not only GEMS. You can avoid it, just like the snow bros did (the best game audio in genesis). But most sound engineers didn't avoid it because lousy genesis fans loved the farting sound because "it is fm's signature" and "fm have it's own style". Even if it missing frequencies, even if it missing range.
Why snow bros? Because FM is not for drums so they used samples for drums.
Also, original snow bros arcade didn't have drums in its music. So they bravely decided to add drums to tracks, in a machine that is not made from drums. So they sacrifice the sample channel. Genious and brave idea, that's what you get when you use your mind to overcome limitations.
Would be great if you did a deep dive into GEMS itself rather than the games which used it.
I agree. For a video about audio, there is a surprising lack of actual music.
@@bruceleeharrison9284 Guess why there's a lack of music. Fucking youtube. I want old youtube back.
@@bruceleeharrison9284 It would have been nice to get some reference.
@@DudeWatIsThisold good new bad 🦍
@davecool42 Yeah, it's a shame... while it was an entertaining video i really wanted to see why GEMS "ruined" them by showcasing the program itself, instead we got a misleading title... well, it's not unsurprising really since YT nowadays is all about click-baits :/
With a title so focused on a specific subject, I was expecting to learn more about GEMS. I feel like I hardly even got to listen to the sounds produced by GEMS in this video to be able to gain an ear or compare the songs. It would be very cool to delve into what the experience was like using GEMS or maybe even see it in action, compare it to newer tools, show how it was lacking in sound design features on such a robust sound chip, etc.
Dude, you are sleeping on the Vectorman soundtrack. That is a very good example of a game that not only uses GEMS but also utilizes it to its full potential. Tidal Surge is an excellent example of this. See or rather hear for yourself.
I was about to post this. Vectorman has one of the ALL TIME BEST soundtracks on the console and was a Blue Sky developed GEMS game
Surprised he didn't mention Vectorman given how he mentioned Blue Sky.
@@MSOGameShow I scratched my head when he was like "Jurassic Park is one of Blue Sky's best games".
Ehh, I mean, if you ignore the two best games they made, maybe.
Vectorman definitely didn't utilize it to it's full power, but it's one of the best examples of utilizing the sound chips and GEMS well. Really hate when people say GEMS is bad because arguably it's actually much better than what the Japanese had to work with. well made tool with very much potential, only issue is that a lot of the talented musicians came from Japan who had frankly terrible tools to work with. We needed more hits like Cool Spot, Aladdin and Vectorman to make GEMS shine
And it was by Blue Sky! It has some killer music.
The problem was not the GEMS, some lazy developers were.
Would kinda agree here, especially knowing that Toy Story uses it, that game has some themes which are great recreations of the music from the movie.
I agree, although, GEMS absolutely does have a specific "sound" and I don't believe it really uses the FM synth to its fullest potential. GEMS can do well, but you'll never get something the quality of what Yuzo Koshiro can do
It´s all in the talent of the composer. Varios of the best soundtracks on the Genesis uses Gems
100% true. GEMS was a good program if you knew how to use it. Not everyone did.
I have two comments about the origins of the GEMS driver that should be mentioned. It wasn't a "desperation" move by SOA, as the idea actually originated with former Epyx composer Chris Grigg. He argued that a dedicated sound program would be more efficient than typing everything in hex code and converting it. He proposed creating software that would allow the Genesis and a PC to work together as a MIDI synthesizer. American programmers didn't use GEMS because they didn't know how to use the Genesis sound chip. They were quite capable, actually. The reason for GEMS was the lack of English-language documentation for the Genesis at the time, most of which wasn't even official. For instance, Jonathan Miller said that the only documentation he received for the FM synthesizer chip was a hand-written memo note in Japanese. Many composers simply didn't have access to the advanced features of the soundchip because of the language barrier and cooperation from Sega Japan, so they made a driver themselves.
People have to stop blaming Japan for everything. You're only really going on heresay. The YM OP range of chips had been around for a while and they all work the same way. Any composer working with the Yamaha FM chips should be well versed by at least 1991. Which include a range of computers, arcades and pro audio equipment, as well as Adlib and Soundblaster from 1987. Although PC-DOS music is all general midi standard, so drivers tended to be designed for simple reading of midi files, which were composed in a way to be as compatible with 3rd party midi instruments and not any specific YM chip. Unless you were Cryo and insist on making a custom Adlib Gold driver for Dune on PC in 1991. Also making a driver for the Mega CD. But people tended to just operate within the presets. No fancy lfo's or envelope nonsense. But yet the UK devs seem so much better and it wasn't all Krisalis. Or was it? Maybe it was a bit.
@@iwanttocomplain I'm going on what the people who actually developed GEMS told me themselves, so I think it has more weight than just being heresay (although the lack of English-language documentation for Genesis was a common problem overall early on). I don't think it's just "blaming Japan." Yes, SOA did a lot wrong, but SOJ wasn't perfect and made plenty of mistakes of its own. Griggs and Miller weren't SOA employees or executives.
@@Melf00 Look. Just don't make this a race thing ok.
I'm not sure what you're referring to.
@@Melf00 SoJ this Nakayama is a dick head that. Kalinski is a greek god that.
It's super clear to me that Kalinski might well be one of the worst managers of all time.
Did the Genesis use the same sound chip as the Commodore Amiga? It would explain why very few UK/European developers used the GEMS system for their music.
BTW, you really should consider avoiding using "Very" and "Really" in scripts, a lot of professionals never use the words whatsoever.
No, I think genesis uses Japan Tech, while Amiga uses US tech. Though pcEngine is quite close to Amiga and SNES could emulate Amiga perfectly thanks to Sony .
The Mega Drive used the Yamaha YM2612
is that true? can you tell me why that is? come to think of it i dont recall hearing it in alot of vids. you learn something new every day!
and also, hey you!
Hello youuuu! 😁
Genesis uses OPN2, which is quite similar to the OPL2 chip on the Adlib and Soundblaster cards for Dos PCs.
The Amiga doesn't support FM music at all, but Amiga devs also made PC games, so they may have gained experience with the chip that way.
I'm surprised you didn't mention SunSoft. They were the king of chip tunes for both the NES and Genesis.
GEMS is most noticeable by the way it makes music. It is based on the general midi standard, which is 128 instrument 'patches' that are a standard used by all products which use midi, which will have pre-made patches to fit whatever number instrument is being asked for by the midi composition file. So a grand piano can be approximated across any digital instrument, using the midi interface and protocol and file type.
So when a musician composes music using GEMS, they are able to attach a standard midi keyboard and write music, which can be played back using the GEMS sequencing playback capabilities, another piece of software that doesn't need writing, along with the drivers to generate the FM sound itself.
The Adlib sound card came out in 1987 but before that even, was a Yamaha MSX style computer with a similar chip to the YM2612, maybe 6 channel, 4 op and with sequencing and sound design software and a UK game musician, I think Matt Furniss, used to sell them before he became a composer.
The main reason that GEMS music sounds different is also the reason EA music is also a bit different and it's that they are using a stock piece of software which is designed for quick compositions. The GEMS driver did in fact have a feature rich environment for sound design, as well as cues for altering music in various ways for an interactive soundtrack, which nobody used. The point is, GEMS made it easy to write music quickly (despite it's instability). You choose your instruments, write some melodies and drums and it's ready. How this style of music differs to writing music using say your own custom software or a complicated tracker or just writing in machine code in a wall of asci text in software you helped write.
When you use midi, you disconnect yourself from the hardware and it's potential. In terms of sonic range and palette, to pushing the technical capacity. Something very achievable on this old, raw to the bone programming a Genesis needs. The YM2612 can be run by the Z80 or the 68K and can have up to 14 channels if you include the psg. People write techno music in trackers. In fact trackers made all the 8bit music and all the 16bit dance music. Trackers became a fairly popular product in the past few years for the reason that it lends itself to long form compositions with an ease of adding effects and pitch bends and such with a very quick workflow and overview and speed of 'chaining' sections or patterns to form the final composition.
When you use a text based interface rather than a traditional stave, you have access to more additional effects and techniques that are awkward when you're using a mouse to move notes on a screen. This is how you get the awesome technical compositions of Technosoft and Konami. They understand the potential of the format of an fm synth, which is how they understand how to write suitable music that plays to it's strengths. A favourite sound driver of mine is the Krisalis driver from uk studio of the same name who were a contractor who would cover all your Mega Drive sound needs. Vic Tokai wrote a fabulous driver and Socket is a joy to listen to. Because the FM synth is a strange and arguably complicated thing. But if you have a driver in place and have been tutored on how it works, most composers should not have to spend too long understanding the software.
But GEMS is perfectly fine software. It just limits the finite control of the chip and encourages a particular type of compositional style that is synonymous with midi, and that trait is simple musical expression, with limited flourish or nuance, stemming from the working environment of staves and a fully linear sequence of notes, without complex pattern sequences or a broken out visual layout with fast access to advanced, note per note editable characteristics such as instrument, note on/note off, fades. echo. effects (such as additional lfo to apply to attribute/s of the fm patch).
The potential of the FM chip here is not something that can really ever be realised, as a 4 operator FM channel offers unlimited sound design potential with 4 algorithms to alter the way the operators interact and 8KB of aram on the Z80 or more if you use the 68K cpu as a controller instead of the standard Z80 sound controller.
There are any number of ways to go about programming an FM sound chip and none of them are easy. But people are still writing drivers for the YM2612. I think chiptune artist Remute wrote a driver for it. You can just use Deflmask free tracker software which give some good sound design and sequencing tools which should be enough for most people.
A new driver has been released only recently which is the most famous, 'XGM2'...? I think this is why people still like composing for the YM2612, which has two products available based on it for a consumer and professional market, respectively as physical modules, instruments called Mega FM and a much newer one too reviewed by Lord Carnage who made a terrible tune on it.
But I like how people are making music for this chip like crazy right now. It's very interesting to explore the palette or re-write classics like Blue Monday or arcade hits, using various different software and methods to get different results. Enjoy this rendition of XEXEX using a modern driver, splitting the pcm channel into 4, 14Khz channels for one shot notes (which cannot be pitch shifted as per a rompler so must use a new sample for each different note) and other tricks such as splitting channel 3 into 2, 2 op channels (instead of 1, 4op channel) and other refinements to enhance the capabilities of the chip. ua-cam.com/video/k0PvjwqtHqI/v-deo.html ua-cam.com/video/0mAtYZg_lkQ/v-deo.html
Have you listened to the music for Psycho Pinball? It's a very distinctive tracker sound and Epic Games were also lovers of the tracker, which they used in the Unreal Tournament soundtrack, as opposed to the standard cd redbook audio. You probably heard the Time Trax unused Genesis ost which uses a driver which was only used on that ost which wasn't even released. So oh well, but it shows that a British developer can make a new Genesis sound driver in pretty short order. The EA driver was written by Rob Hubbard who was famous for C64 music and also is British. But he moved to America to work for EA. I think Rob is obsessed with distorted guitars.
Ecco the Dolphin was made by Novotrade, from Hungary and Sega of America in support and consulting and the soundtrack is GEMS, with major contributions by Spencer Nilson of STI. The founder of Novotrade actually came up with the idea for Ecco the Dolphin himself.
I can't get enough of Mega Drive music and the YM2612. It is a very well design music chip. With clear channel and frequency separation and frequency response, it's almost impossible to f*ck it up. I really enjoy many GEMS soundtracks, for instance, Ahhh! Real Monsters is really enjoyable to listen to.
The reality is that GEMS and the FM chip have been unfairly maligned and it might be something to do with a rival fanbase and their most vocal and inflexible opinions on certain matters involving who's is bigger. "Of _course_ everyone _knows_ the SNES blah blah blah".
But GEMS isn't ruining games any more than the guitar ruined bad songs. I'm starting to warm to GEMS and it's inexplicably and irrationally heavy use of the Marimba preset.
I agree to your point. Only innacurate information here is the number of channels the chip is capable of reproducing. The Genesis/Mega Drive had a total of 10 sound channels available. 6 FM channels, being the last channel capable of sample playback by turning on its PCM mode (optional. You can use it as a sixth FM channel if you wish). And the remaining 4 channels are PSG. This if you don't split the PCM into more channels by using a proper driver, as you pointed out.
@@vinisasso the psg chip can be set to play a sample but that fully occupies the Z80 though.
I was being accurate with my number of potential channels on a stock Genesis.
But, technically, channel 3 can split it's operators into 4 simple sines that aren't mathematically related. So if you count channel 3 and 6 as four channels each, including the psg is 16 channels potentially.
@@iwanttocomplain oh, I see...that feature of the third channel...I heard about it before, not sure if I ever saw that happening in a commercial game, this is why I didn't count them. Regarding the PSG, that's true. After Burner II plays its drum samples with this feature, and it's not too terrible IMO. You know many games where regular PCM samples (played back from the FM channel 6 DAC) sound too scratchy and quite compressed already, but anyway, this also tells us a bit about the phenomenous potential of the sound chip.
@@vinisasso I don't think the de-syncing feature of channel 3 was well documented. Modern drivers push to potential of the system like XGM sound driver.
The psg chip can play a pcm sample. Channel 6 can also, by reducing the frequency and multiplexing the playback.
PCM playback wasn't that easy. Early drivers might struggle. Other's might give you pin perfect reproductions on their first attempt. Generally space was saved by reducing the frequency from an 8bit sample. This wouldn't be possible with a 4bit sample, as adpcm really is needed to reduce the noise.
GEMS has actually great sample playback. You don't generally compress Mega Drive samples because there is no hardware decode feature for adpcm but that could be run in software.
I had no idea the bad quality audio was simply due to not knowing how to utilize it properly. I thought much of the audio was just supposed to sound the way it did. That might also explain why audio on some of those Genesis mini consoles, official or bootleg, don't have proper sound. I had to shut off one I had as soon I tried to play Sonic 1. The music was so much worse than the cart.
It’s both. The Genesis sound chip was not bad at all. But it had a bit harsh tone
For similar reasons, the chip itself is just difficult to emulate as well. It's difficult to predict how something may sound coming from it because the way it works is unintuitive.
@@AeduoActually the genesis audio system is standard for the time. FM Sound Synthesis was used in Arcade and Pc games at the time also. The genesis was considered flexible and rather good for the time.
Emulation of the chip isn’t easy but it’s not too hard now since the documentation and resources exist for accurate sound emulation.
@@waterheart95 PC games which supported FM were just using some crusty translation from some common format so it tended to sound like crap. Arcade used it a fair bit true.
i'm so sorry but this entire videos script sounds ai generated. almost none of this had to do with the music of the games
I felt the same, also, I would've loved to hear more music comparisons and less about how the game looked or played
Not trying to be rude or anything, just a comment
Yeah, was about to write the same. The title was misleading. There is only 20% relevance. Also the samples used weren't convincing and weren't compared enough to make it clear what gems is all about.
Agree big time
you made this whole video to make me listen to you saying "farts" over and over first thing in the morning. admit it.
LOL
Admit it now. @@pojr
An enjoyable watch, though the video title doesn't really reflect your conclusions concerning the use of GEMS.
I wish you expanded on the audio. I was curious about the bad examples and what made GEMS so different from the standard music making process.
Most of the video is essentially game reviews of games which use GEMS, which is fine, but there should be more information about the audio. What works? What doesn't? How does a "good" use of GEMS sound compared to the infamously "bad" uses of it? I'm also curious about the mechanics of GEMS, and how it got made. There's a lot that could be discussed!
If people knew how complicated FM synthesis and algorithms were especially with the Yamaha chips back in the day then they would have a lot more appreciation and gratitude for what those composers went through in building decent songs and sound effects on the Genesis. But yes, many of the Japanese game developers had cut their teeth on the Japanese computers in the mid to late 80's like the PC88 and PC98 that contained Yamaha chips similar to the one used in the Genesis. Many of them also had relationships with Japanese Arcade machine programmers who gave insight, documentation and offered tools to make crafting the sound easier. The only Western company I can think of that had Yamaha experience was Atari Games and that's why their Genesis Tengen ports sounded so good. Anyway, GEMS was a massive time saver and if you're an upstart company on a budget back then, you don't have time for the composer to reinvent the wheel or waste time fiddling with FM settings...you are trying to get your game finished by deadline, out the door to manufacturing, and on the shelves in a few months to hopefully recoup the investment.
As a synth player, can confirm.
I implemented a basic 2-operator FM synthesiser in PureData comparable to a single channel of an OPL2 chip. It ended up with over a dozen controls to play with. So, yes, I can confirm the complexity adds up pretty quickly. I think I spent more time positioning sliders and other interface objects on the screen than making the actual synthesis logic.
@@Roxor128 Yes indeed! I've never used PureData before but I have experimented with a VST called OPNPlug which is identical to the YM2612 in the Genesis and a tracker called Furnace that supports the Genesis chip. The YM2612 is like a cousin to the OPL2 where it's limited to only sine waves and has 6 channels instead of 9, but the tradeoff is each channel is 4-operator and 8 different algorithms which leads to a bigger variety of sounds. But, with more operators and algorithms comes more tweaking and time investment. Another tradeoff with the YM2612 is the 6th channel doubles as the DAC that plays audio samples like voices or drums. As it plays a sample though it cannot play FM so you temporarily go from 6 melodic channels to 5. So some composers would flip-flop and actually pack in a few notes in-between the drum samples hitting on the down beat which is insane lol. 😃
I'll be honest, none of the music you played here sounded good to me. Would have been nice to compare it with the music of Genesis games that did not use GEMS.
Not even Alanden
I also want to add that Japanese xenophobia and racism against western developers was also a fact for Sega (and other Japanese developers of the time, like Nintendo) to withhold vital development information for their consoles to non-Japanese creators, hence why Sega had to develop a low-rent solution for western developers to create music.
i think thats gatekeeping information to maintain and defend their position in the gaming industry (a common corporate practice in all industries), more than "xenophobia and racism" tbh... but you can interpret it as you want
@@eucalipto9724 Maybe you are right, but keep in mind, at least in the 80s and 90s, it was considered "normal" (at least in that era) for Japanese VG companies to withhold the complete information of their consoles to western developers, while the Japanese ones had complete access of that info without any problems, partly because of the aforementioned problems, and partly because they thought western developers were inferior to them, a feeling shared with many people, including western players, in that time.
This kind of mentality was the reason why many people mocked (and with a good reason, at least in this case) the Atari Jaguar, an American console, and the MAIN reason why the Xbox brand had an uphill battle at first in order to show that an American console can produce good games.
That is so petty of Japan, I thought they were ok but not this low.
Then of course you have Sega of Japan jealous that the console was successful in North America and not Japan, so they made the Saturn specifically to appeal to Japan at the expense of other markets...
I find it hard to believe a company founded by Americans to serve US military bases in Japan would be racist against Americans.
This was an interesting video and I really enjoyed learning about GEMS, your narration was very good as well. If I have one criticism, you really didn't let the music samples play for long enough for me to get a very good idea of how each game's music sounded.
I understand if this was to avoid copyright detection, but yeah. Other than that, still a solid analysis, really enjoyed it.
FM synthesis is also just remarkably difficult to work with, so even if the application wasn't the problem and allowed good programmability of parameters, it's still going to be difficult to get the sounds you want out of the chip because it's so different than the way we normally work with instruments and think of sound. It's more of a compromize which made digital synthesis of complex timbres possible within a relatively low-cost chip (though it was quite expensive when it was introduced), but it forced musicians to work on the terms of the technology, rather than the technology meeting musicians' needs directly.
But yeah in professional settings with musicians in the US, we probably had primarily moved on to samplers and wavetable synthesis by the late 80s, with a lot of western productions maybe using some presets on a DX7 as the extent of late late 80s/early 90s FM-synthesis-using electronic music.
and yeah writing up a tool for setting up patches and compositions is just probably not worth it in most cases when something already exists.
The problem may be with the music editor giving non-musicians a simple enough tool that they could do their own music without contracting a specialist.
Most synthesizers of the time came with lots of terrible presets. And the tracker programs used for programming many video game soundtracks were limp unless you knew all the effects. To get the best of them, really took digging into customizing sounds to your own compositions (and having a some musicality and sound design talents)
Pretty sure it's the exact opposite. The goal was to give people who were trained musicians and composers but with limited computer knowledge the ability to produce tracks with the same MIDI tech common in the mainstream music industry. That would also explain why so many games seemed to keep all the instruments on default.
It's also why European developers who usually had a demoscene background and Japanese companies with dedicated sound departments didn't suffer the same fate.
@@stevendobbins2826 This is like a theory I've had for a long time: video game composers breaking into the industry in the early '90s, in the US especially, were increasingly coming from traditional music backgrounds rather than programming ones. They may have been talented composers, but they weren't well versed in sound design and getting the most out of limited hardware. Software like GEMS helped them compose easily, but they lacked the skills to really take advantage of the hardware.
Also, I don't think it's a coincidence that some people have criticized keyboard players from that period for not being able to program synths. Popular '80s synths like the Yamaha DX7 and the Roland D-50 were a headache to program, so most players just used presets rather than creating their own sounds.
“GEMS sounds bad”
*proceeds to show us GEMS-based games with great sound*
🤷🏼♀️
The biggest reason for the weird sound is the fact that FM Synthesis was a bitch to program, even on full-blown synthesizers like the DX7 (in fact, most artists just stuck to the presets). The primitive interface of GEMS certainly didn't help
To those who still say that GEMS sucked overall:
A tool is only as good as its user.
Don’t blame GEMS; blame the composer.
Tommy Tallarico (Global Gladiators, Cool Spot, Aladdin, Earthworm Jim) is one of the few composers who used GEMS to its highest potential; in fact, he outright said that GEMS is his favorite development tool for composing his Genesis music.
Yep, he did wonders with the program to the point that music translated to Master System for Cool Spot still sounded great.
@@pferreira1983I bet his mother is very
disappointed…
@@codes5_real I don't know considering his credits and the fact some of the best music on the MD is by him and his studio. 😉
Did tommy write this?
@@Jono1874 It's not an alt account and makes perfect sense to me. 👍
I’d like to see a video about how modern sound drivers from SGDK compares with GEMS.
I’m sorry but I’m gonna echo the sentiment in the comments already here, there is basically no interesting information on the music here, and I don’t think people clicking on this care about these random games or their mechanics.
FM synthesis in general is hard to nail. And Yamaha's original chips had tons of parameters to play with, so no wonders that composers struggled with it.
As a music producer myself, I finally understood how to apply FM synthesis after 5-6 years of programming synthesizers.
You know watching this reminds me of three SEGA of America games that didn't use GEMS, despite it being used for mainly them and western/American developers. Anyway, those three games are Sonic the Hedgehog 2, Sonic the Hedgehog 3 and Sonic & Knuckles. We know Sonic originated in terms of development in Japan, but Sonic 2, Sonic 3 and Sonic & Knuckles was developed by STI (SEGA Technical Institute) which was part of SEGA of America and Sonic Team USA which is also part of SEGA of America. They all use SEGA's SMPS sound drive which was developed internally over at SEGA in Japan.
Jon Miller, one of the creators of GEMS, passed away yesterday.
I think SEGA designed the Mega Drive mostly with Japanese sensibilities in mind. Both the 68000 and Z80 processors and the FM soundchip along the PSG one. After all they wanted to make easy for arcade and PC developers to port and develop games to their console already knowing those off the shelf parts. FM synth sound chips were the main source of sound for basically almost all PCs and arcades at the time in Japan so of course most Japanese made games sound really good, just like the arcades or PCs because they really knew how to work with FM.
But the Mega Drive became more popular in the west than in Japan so the focus was on the library of games developed in the US and europe and as mentioned in the video, the west wasn't too accustomed to FM sound chips like Japan and it shows.
Sure it all depends of the programmer/musician to bring the best of any sound chip and tools but if they didn't had the experience and the time (not counting the will) to work and learn of course companies will get the cheapest and easiest solution.
Was expecting to know more about GEMS and not the games that used it
This video needed far less talking about how the games played and how good they were and needed more music samples. The entire section about companies that didn't use GEMS didn't have a single music sample so the viewer is left without a comparison. Sharing the Aladdin stage skip code came out of nowhere.
Wait, this video is about in game music, but where's the comparison of music or music at all? Just short reviews about many not so good games. :(
The difference between the bad GEMS music and the good GEMS music is that the bad ones used the default built in instrument sounds that came with the program and just used it like a sequencer without changing anything whereas the good ones edited or designed their own instrument patch sounds using the ADSR and operator editor
Seriously? No one has commented on the brilliant ABBA reference POJR made? "Thank You For The Music" made me smile, nice one! I know very little about programming video games but I imagine file size came into play when making music. I used to make electronic music in the mid 90's on "trackers" which had all sorts of limitations especially due to file sizes. There are some composers who can do unreal things with the tiniest sound samples and take up the smallest of file sizes. Then there were those like me who relied heavily on the larger samples and then were restricted by limitations. I think this came down more to the imagination of the composers and also likely the direction from the programmers. You could still hire Beethoven yet tell him to make "circus farty clown music for the kids" and they'd have to do that. Great episode, thanks POJR!
I wish we had an NES equivalent to GEMS for music producers. I heard that there is one program but it's hardly MIDI piano roll. It gets the instruments right, but it's difficult as hell to write for.
Deflemask is a free tracker that covers various 16bit chips iir and might do 8bit chips too.
So is this a video about the software or a video about short descriptions of games that used it with one or two sentences each about the quality of their music?
It's framed like the former but the video is the latter. I don't understand what the point of even bringing in the audio is. This video is not about audio.
Arguably Bubsy is actually known for good music on the SNES, but the point does stand because the Genesis version did not sound all that great
It has a user interface, but GEMS is a sound engine, not a "music program".
Wasn't there also a problem with Sonic Spinball's music and Sega having to abandon the original Sonic 1&2-esque score due to royalties?
Script sems very "AI-"Assisted"" (even if it wasn't) through the way you repeat random sections seemingly for no reason and go on tangents reviewing the games and justifying their importance which has nothing to do with the point of the video, as well as the out-of-place facecam intro which doesn't have any reason to exist other than because other UA-camrs do it.
I don't mean this as a hate comment but as feedback that you should simplify your script to make the video more relevant to what people clicked on it for; longer viewer retention is more important than longer video length, so unnecessary padding and repetitive presentation hurts engagement.
The music is the least problematic issue with Fantasia. It's certainly not the worst Genesis game there was, but the fact that Sega Japan had hit such a high bar with Castle of Illusion, had people's expectations very high. Instead of making GEMS for western publishers it would have been a better idea for them to offer help with their sound creation and translated SDK notes which helped so many Japanese Mega Drive composers. The only good GEMS sound were from more technically advanced companies, such as Shiny/Virgin (David Perry), and (Donald Griffon, who was key in changing many of the default GEMS sounds and PCM samples to help it sound MUCH better. Though Tommy Tallarico is the one who always gets the credit for those games.
A nice video, but this seems more like a bunch of reviews of various games with the GEMS stuff kind of tacked on. The video’s title is a bit misleading because there is much more content on the games, rather than the game’s music and the GEMS program itself.
Just trying to offer constructive criticism.
A lot of western developers who used GEMS did create a lot of low-effort soundtracks. There were also a few 32x games that incorporated GEMS into their games.
Did composer have enough time to learn the program to spend time composing instruments instead of relying on the default ones provided by Jim Hedges? Not sure.
nightmare circus and comix zone are my favorite and imo the best gems soundtracks. it was a slightly janky driver, but it exposed almost all of the features of the hardware. the limitation, as it is often, was the user. and for whatever reason few american game composers were interested in mastering fm synthesis despite japanese games consistently showing them up in terms of audio.
Nvm the fact Tommy Tallarico is a hack, but his work (or whoever was working for him...) on Earthworm Jim was excellent. Rare instance where the Genesis version was better than the Snes version.
Japanese Devs for SEGA also had an edge with FM sound because the Mark III/Master System in Japan utilised FM sound.
that sound effect of "Here we go" when Grant sits on Rapture is quite funny!
Indeed lol. Jurassic Park had some funny sounds and weird voice synthesis.
Pojr: Gems ruins games
Also pojr - showcases just one game (fantasia) which is bad whilst a load of others where it's ok to decent 'despite being built on gems'.
I'm not sure if your title was intended to be clickbait or to dispel a myth/trope - you definitely should've included some more bad games either way and you still could have reached the same conclusion.
What funny about Taz Escape from Mars is that it’s a sequel to Taz Mania which not only also used GEMS but it was made by Recreational Brainware who made GEMS. And it was there only game they made. Ironically enough the music was pretty bad. Although they did outsourced the music to Nu Romantic who also known for the music on Chakan the Forever Man
Honestly, I feel like GEMS was a pretty good program, it only makes fart noises or sounds bad when it isn’t used properly.
There is a video by one of the programmers of Toy Story that shows how they pulled off with an impressive game, both video and music.
GEMS fell victim to the tyrrany of the default. When they made the software, they created a palette of sample effects and tones as examples. They were meant just to show that things could be customized. A lot of people who worked with it, though, never took things further than that. The ones that did, though, as you heard, got great results out of it. GEMS is a tool, like a Hammer. Having a better Hammer doesn't make someone inherantly better at driving nails. The same is true with audio software.
Once it was known that GEMS was used for the Genesis port of Action 52, GEMS started to become the target of hate from a lot of gamers. I've seen the list of GEMS-based games, and it's very much a mixed bag. I unveiled the existence of GEMS by pure accident; I was doing research on the only Awesome Possum game, and the sound engine was credited as GEMS. The game engine has framerates that go from 30 FPS to 0.5 in a split second, and the digitized sound is purely to blame, it appears. You can get better performance by disabling the Possum phrases in the menu ... and many people did.
Dr Robotnik's theme from Sonic Spinball is the theme to all my nightmares. Its one of the darkest boss themes ever, and I love it.
Blaming bad music on the audio driver is such a massive cope.
Try not to annunciate the last letter of every sentence challenge IMPOSSIBLE
Good ol fart sounds 😂
Yeah, you had a composer that didn’t know what they were doing if they got that.
100% true. It was up to the user.
There's a simple standard for figuring out whether or not a tool is well designed or not. If the average creative cannot get good work with that tool, then it's bad.
Even to this day, sculpting decent sounds with FM plugin synths on a modern computer can be unwieldy. It makes sense that a lot of musicians back in the day would default to using the available presets (and it makes sense that the programmers who made the software didn't make phenomenal presets). Different skills. I wouldn't blame the software, nor the musicians. It takes time to get good at a whole new system, and FM is not intuitive unless you force an intuitive UI onto it, which is difficult in itself.
I think it sounded great, never thought it sounded like farts, never even heard that claim until message boards in the early 2000s. But thats pretty much everything in the retro community, Nintendo glazers rewriting history because "winning" wasn't enough for them.
You can tell it's GEMS when the music is trying to sound like sampled instruments, like the SNES. Games that don't use it take advantage of the fm synthesizer.
"do you have something to add in the comments section, put it below!"
My Brain : *fart noises*
No but seriously, cool video and as a few others pointed out the title is a touch click baity but having seen a few of your videos come by, I love the amount of effort and energy you put into them, will be subscribing for more hopefully.
- GEMS IS THE REASON WHY GAMES SOUND AWFUL
Also:
- This game is made using Gems but it sounds great
I feel like Spinball is a showcase for how versatile GEMS can be if you try hard enough
So, how did it ruin things? You have lots of examples, but no analysis. This is a nothing burger.
I still dont get why Sega just made documentation about the native FM sound driver instead of GEMS
Because they wanted non-programmers to be able to write music (i.e. most composers).
@@Silanda But it's a synthetic music chip, sadly ppl need programing skills to do music back then.
The problem with GEMS is that there's a limit for how good a game can sound, but not a limit for how bad it can be.
And even Japanese devs dropped the ball from time to time. Capcom for example seems to even regress from sf2 to ssf2.
Genesis sound is a really chaotic matter. But it shouldn't be, Yamaha and FM chips were already widely used all around the world. Strange stuff only Sega fans can experience.
If you're reading comments
Each time text shows up, there's a little horizontal line at the right side of the screen.
Please fix, it's driving me crazy.
"The music is some of the worst I've ever heard on a console." (proceeds to illustrate this point with an entirely decent-sounding Genesis rendition of The Sorcerer's Apprentice)
...Seriously, having never heard the music from Genesis Fantasia before, I'm trying to figure out what's wrong with the track you played as a sample there -- it's recognizable, competently paced, and uses instruments that have both dynamic impact and playful appeal. It's not a match for the version played in the movie, but as game BGM, it's honestly everything I could really hope for from a console version of The Sorcerer's Apprentice! I'm scratching my head trying to figure out what makes it "the worst you've ever heard on a console."
Also, you bring up Bubsy not being known for its music, but... Bubsy 1, on SNES at least, has a pretty darned good soundtrack IMHO! The final stage theme in particular -- the Woolies' spaceship -- gets randomly stuck in my head a lot.
Never listened to the Genesis version for comparison, and I'm sure I wouldn't like it as much (I rarely pick the Genesis version of a soundtrack over its SNES counterpart), but I should do so and see if they managed to at least hold their own with it.
Definitely a game with an underrated soundtrack, I'd say -- and an underrated game in general, for that matter. I will die on the hill of claiming that Bubsy 1, at the very least, is actually a pretty fun and rewarding game, which I legitimately played to completion and thoroughly enjoyed as a kid.
EDIT: Wow, just gave a brief listen to the Genesis Bubsy OST, and... yikes. Yeah, they REALLY didn't put any effort into that whatsoever! Do yourself a favor sometime, and listen to the SNES OST for comparison -- particularly the final stage theme, "Day the Wool Stood Still." And remember, as you listen to it, that it's a space-themed level where you're on spaceships and out in outer space for most of the stage... and yeah. It's just a really catchy theme! Not going to be winning any awards, but I always found it appropriately "epic" in scale and tone.
You missed a pretty big one that doesn't use GEMS and is a great example of what the console can do without it. The Sunsoft Batman game. The music in that game is incredible. Not Batman Returns...it was just called Batman: The Video Game.
The most infamous example for GEMS is probably Super Mario World 64.
Fantasia does not use GEMS. At all. It's a custom sound engine.
2:45-2:48 Actually, Fantasia used an audio driver that was pre-GEMS. It still sounded horrible, for sure. I should know because I was one of the kids growing up in the 90s who had the great misfortune of playing that mess of a game and having to listen to the awful synthesized musical arrangements.
some games were identical to the Snes counterparts, but the music was so awful, they were considered inferior just because of that.
That Death of Superman game had good music on Super Nes but on Genesis it sounds like someone just experimenting with a keyboard while drunk, it's so bad.
Now we need a Sega GEMS fart noise supercut compilation.
The actual sounds in that Fantasia clip aren't terrible, there is just nothing interesting done with them.
I don't know if the music in "Ariel: The Little Mermaid" used GEMS or not, but by how bad it sounds I'm guessing it did.
A.k.a. The “wet farts” sound font.
You're not wrong with some of the games lol
@@pojr Dude, there’s one game… I don’t remember which one… I think Gamesack covered it, but the soundtrack basically sounded almost entirely of wet farts… hilarious 😂
I'm sure the program gave access to all or nearly all of the FM sound chip's parameters. A good team will create their own presets and instrument templates to tweak into various non-fart-based sounds. FM synthesis is versatile but some experience is definitely important.
You're gonna crush 20k bro. I can see, your channel is about to EXPLODE.
Aint the tools, it's how ya use it! GEMS users really were put to the test with such an FM based sound program and hardware. FM happens to be some of my favorite class of synth and plenty of music apps have at least one of these FM capable VSTs with it
Despite all its flaws, the genesis has to be my favorite FM based synth
It really depended on the game. The gritty, rough sound of GEMS could sound great in games like Comix Zone but terrible in games like Batman Returns. Desert Demolition is an awesome example of a licenced game. It's extremely faithful to its source material.
- Video is about GEMS but spends 80% of it reviewing the games and not talking about the music
- Claims GEMS is terrible but enjoys the soundtrack of every example he shows except for the first one
Fantasia is a terrible game in every way, terrible music and controls. Castle of Illusion blew this out of the water.
As a kid I never even realized Genesis had poor sound. I just played my games
Now I'm really curious about how FM games sounded
When I think of GEMS I think of Sonic Spinball. The Options music is the worst offender in the game and it sucks since under that rough, crating exterior is a nice melody. Though I'd argue it actually fits the game, since the opening levels take place in a dirty sewer and a run-down looking factory.
Gems was an amazing program, just many people used the same stock sounds and samples to save time, like any daw you can create amazing music from it, just takes time alot of 3rd party games didnt have, mainly licensed games as they would have to be on a strict deadline to get it out within the product release
i am in the same boat with FM music. the NES is just way easier to program music for. that's the reason most SEGA 16-bit osts i love are from SEGA themselves. Castlevania Bloodlines is a huge exception. and ... also the simpsons, for some weird reason...
12:11 Okay that one sounds way better on the Super Nintendo. Anyways thank you for this video I now know why some music just sounded so weird on the Genesis. I mean I already knew that the Super Nintendo had better sound quality than the Sega Genesis that is for sure but it sucks that on Sega they had to deal with such limitations. At the very least a lot of companies seem to have been able to make the most out of the software though
12:31 Oh yeah but earthworm Jim that game surprisingly I find the music to sound a lot better on the Genesis than on the Super Nintendo but then the sequel earthworm Jim 2 sounds a lot better on the Super Nintendo than the Genesis.
It's not the programs fault. It was lazy developers. Gems could sound great if you put effort into it.
Sonic spinball has a great soundtrack considering it used GEMS
Listen to the studio versions of songs like toxic caves and lava powerhouse. It sounds exactly the same lol
Nice video, though I would have liked to hear also some examples of the music from games not using GEMS for comparison.