By doing this, going back to efficiency, you can get movement in the track for many different sounds, using very little memory. I spent five weeks on “Aquatic Ambience”, mostly on the technical side, trying to get all those little waveforms and stick them together next to each other. 'For the “Aquatic Ambience piece”, I was actually trying to get it to emulate a Korg Wavestation, a popular synthesiser at that time, which takes tiny waveforms and re-sequences them back together again. We had to go down to a lot of detail.'Īnd of course there is this track which was created by programming the SNES to act as a wavetable synth! Then, I would write code to make it cycle properly, basically rebuilding the synthesizer through code on the Super Nintendo. Then I would chop everything into single cycle waves. 'For example if I wanted a frequency sweep, what I would do was get this Juno keyboard that I had, and sample it at a particular resonance at different frequencies. He's mentioned creating samples from his hardware synths for most of the synth sounds used:

My favourite video game composer is David Wise for his work on the Donkey Kong Country series (which is often very moody and electronic).

Donkey kong country 2 soundfont