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Posts posted by zircon

  1. Happy to announce just a handful of features to be included in the upcoming FREE update to Super Audio Cart, slated to arrive before the end of the month! Remember, this isn't the entire list, so if this gets you hype... well, you're in for a treat.

    1. New sound sources from the VRC6 and ultra-rare VRC7 Japan-only expansion chips for the NES/Famicom. VRC6 adds more pulse widths and saw waveforms, while VRC7 includes a palette of FM (!!!) sounds. 

    2. The ability to use generated ADSR envelopes as modulation sources. Imagine ADSR modulating FX, for example.

    3. Filter ADSR and pitch ADSR, plus depths, as new destinations in the mod matrix.

    4. 100 new snapshots.

  2. Here's a little bit about how this instrument came to be. Way back in ~2007-2008, Dave had the idea to do a sample library based on arcade sounds. "Samplecade" was the original title. I expressed some interest in helping, since at the time I had just worked on my first sample library project w/ Impact Soundworks. He recorded some source material but we didn't get much further at that point. We talked about it from time to time.

    A few years ago, after spending some time composing for a game that called for an SNES-style score, I had the idea of creating some ORIGINAL sounds and then making these into a virtual instrument for ISW. We started doing some early tests in 2014. Dave & I began talking again and he shared with me his grander vision; what this instrument COULD be... a definitive collection of not just SNES sounds, but other essential 8 & 16-bit systems as well. I thought it was a great idea and set to work slowly but surely assembling elements of the library. 

    PROTODOME recorded the C64, NES & Gameboy sounds and designed some early artwork. Seeing some gaps, Shaggy (theshaggygreak) contributed more C64 material. Neblix has been the lead engineer on the project doing a monumental amount of engine programming. 

    By my count that is 10 people from this community that have contributed to Super Audio Cart in some form... Not counting people who have, and will, write demo songs too. 

    Of course, the entire community of OCR did not contribute - but we don't have hundreds of ReMixers on any ONE album project either. They're still OCR albums, made by the community. And it really bears repeating that, as djp said, a portion of the sales will be going directly to support OCR. Just like the proceeds from Patreon, site funds support things like printing physical copies of albums, putting on awesome panels at conventions, hosting/bandwidth, working with freelance developers for various projects related to the site, etc. 

    In the literal and direct sense, the entire community benefits from this!

  3. Pricewise, there really aren't any products that have this much sample content AND a really powerful synth engine to boot.

    As far as pure synths go: Sylenth1 is about $155. Zebra 2 is $199, and Diva is $179. Serum is $189. Massive is $199, FM8 is $199. Strobe 2 is $179. Just to name a few... and believe me this is a lot closer to a synth like those, than to a bunch of WAVs in a folder or a basic soundfont. The 5x FX racks, the independently programmable arps, mod matrix (can't say enough about that) definitely make it competitive with those in terms of features.

    Chipsounds is an obvious comparison at $95, granted. And to their credit, it's a great product. But it's also not sample-based, so it doesn't match the true output of any of the included systems. It doesn't have any SNES content at all, nor does it emulate the Genesis (as far as I'm aware). Nor does its engine have a flexible modulation matrix, or 8 FX (it has only 3 FX total).

    Another thing is that Chipsounds' preset library is very small. It's a synthesizer for people who really want to get into the nitty-gritty of each chip. A huge advantage of Super Audio Cart is that there are 1,000 snapshots ready to go. These range from pure, authentic mono waveforms and fully constructed drumkits, to crazy tricked-out layers that are fully performable. Chipsounds just does not have all that.

    In fact as far as I'm aware, nobody has ever released a true, original (not ripped) SNES sample set... and definitely not one this comprehensive.

    You COULD put together an array of different plugins and sample sets that might approximate the amount of content in this library. Maybe it would be cheaper; I doubt it,  I'm not sure. BUT it wouldn't have a single, cohesive interface built for both easy tweaking & deep sound design, and it wouldn't have a universal collection of this many high-quality presets. That I DO know for sure.

  4. Cost: Yep, as mentioned in a YouTube comment reply it's going to be in the $100-150 range. I think it's going to be a pretty fantastic value for the money purely for the MODERN sounds alone. That's the big difference between this and other retro/chiptune type plugins; this has hundreds upon hundreds of presets made by layering the systems, adding effects, modulators, envelopes, and filters. A pad made from SNES strings mixed with Genesis sweeps and NES arpeggios? Sure! The factory library features contributions from OCR's own community: bLiNd, Timaeus222, Flexstyle, Sir_NutS, and Big Giant Circles, along with myself and djpretzel to name a few!

    Kontakt: ... Is not the most elegantly designed plugin in the world, but that's OK because we created our own interface and engine from scratch. So you're not really using Kontakt's UI, but our own thing that just uses Kontakt as the backend. All the graphics, wallpapers, knobs and other stuff are totally original. I'll be making a multi-part tutorial series on how to use Super Audio Cart, too. Starting with the basics of navigating the factory library, then moving on to basic sound layering and mixing, envelopes/filters and portamento, arpeggiator & sequencer, FX, and the mod matrix.

    SNES: For the SNES, for copyright reasons we couldn't sample the actual games themselves. Instead, we created our own custom bank of 400+ sounds to the same specification used by actual SNES games, right down to the same bit rate reduction (BRR) encoding. These samples could be dropped into a ROM file and loaded on a real SNES - and in fact we did that just to make sure they sounded correct! You'll find a huge range of sounds including strings, pianos, guitars, basses, ethnic instruments, FX, ensembles, and drums, with lots of variations for each. There's also an FX module with the classic "SNESVERB" sound that you can tweak and toggle at will.

    MegaDrive: Another tricky one, since FM synthesis has infinite possible patch combinations. However, most of them suck! So we ripped the TFI (FM synth patch) data from actual soundtracks and, using a Model 1 Genesis and GenMDM hardware, multisampled about 120 of the best patches from my favorite games. Classic instruments from titles like Streets of Rage, Phantasy Star, Shinobi, Toejam & Earl, etc. Oh yeah, and several hundred FX taken from sound tests too (non-PCM fx, so again, no copyright issue!) On the PCM end, we did use the Genesis' lo-fi DAC to record some custom drums + percussion for lovely Genesis-style 707, 808, 909, rock, metal, and hybrid kits, plus about a dozen others.

  5. OC ReMix & Impact Soundworks are pleased to officially announce the release of SUPER AUDIO CART, the definitive retro game instrument and a project eight years in the making!

    Instrument Page: Read More & Purchase


    Super Audio Cart features eight legendary video game systems recorded in exhaustive detail using a slew of specialized cartridges and hardware:

    • Atari 2600
    • Commodore 64
    • Sega Master System
    • Game Boy
    • Sega Genesis (Mega Drive - Model 1, naturally)
    • NES
    • Famicom (w/ VRC6, VRC7, FDS)
    • SNES (Super Famicom)

    These samples combine to form more than 630 multisampled sound sources: everything from pulse oscillators and noise generators, to essential FM patch layouts, true lo-fi PCM drums and hacked/circuit-bent setups. When you play a Commodore 64 PWM patch or an NES drum kit, you aren't hearing an emulation: these are the real sounds coming straight from each console.

    But Super Audio Cart goes far beyond authentic game sounds. We created an incredible KONTAKT PLAYER engine (with full NKS compatibility) pushing Kontakt to its limits to provide a huge range of sound design features and 1200 factory presets in total. This engine lets you transform simple pulses, saws, and 10kb samples into monumental pads, dirty EDM basses, hip hop leads and anything else you can think of.


    • Over 5,800 meticulously edited samples in total
    • All-new bank of custom SNES samples (400+ instruments)
    • 120+ classic FM instruments from the best Genesis soundtracks
    • Hundreds of sound effects, both sound sources + presets
    • Synthesized and DPCM sampled drumkits
    • Tons of waveforms and circuit bent oscillators


    • Up to 4 simultaneous and independent sound source layers
    • Five total FX racks (one per layer and global) with a custom "SNESVERB" module
    • Independent arpeggiator/sequencer & gate, including wave sequencer
    • Full control over envelopes, mapping range, keytracking and tuning
    • Customizable portamento (including poly portamento)
    • Over a dozen filter models (LP, HP, BP, notch)
    • MIDI learn / CC links to any parameter or control
    • XY controller for layer blending or modulation (also MIDI learnable)

    And the crown jewel, a 64-slot custom mod matrix built from scratch. We'll be making a video just for this since it can do so much - create and assign custom LFOs to virtually any parameter, use MIDI CC, random numbers, velocity, key position, and aftertouch (to name a few), modulate FX and controls globally or per-layer... etc. And you can bet the factory library makes great use of it!



    Super Audio Cart was produced as a collaboration between Impact Soundworks and the OverClocked ReMix video game music community, and is available now for the MSRP of $149 with FULL Kontakt Player and NKS compatibility!

    Get the library here!
    Let us know what you think! :D

    VIDEO TUTORIALS (Playlist)



    "Super Audio Cart is so much fun, and absolutely spot-on for simulating retro game sounds. This is absolutely a fantastic sample library for all game music fans."

    -Yasunori Mitsuda (Chrono Trigger, Chrono Cross, Xenogears)

    "It's extremely convenient to be able to create arrangements with such diverse sounds so quickly, just using MIDI. Of course, Super Audio Cart isn't just for 'retro' sounds - it's also very useful for modern music as well."
    -Yuzo Koshiro (Streets of Rage, ActRaiser, Revenge of Shinobi, Etrian Odyssey)

    "Super Audio Cart is without doubt the best plugin for all your chiptune needs, it's got the lot and they're all glorious!! Having all these authentic sounds in one place is the best idea since someone said, 'Let's put a rap in Donkey Kong' ... oh wait."
    -Grant Kirkhope (Donkey Kong 64, GoldenEye, Banjo-Kazooie, Civilization: Beyond Earth)

    "Super Audio Cart fills a niche in my chiptune arsenal that has been sorely lacking. The SNES-style patches sound so authentic, and the multi-chip patches bring usability and versatility I haven't seen in a chiptune instrument before."
    -Danny Baranowsky (Crypt of the NecroDancer, Binding of Isaac, Super Meat Boy)

  6. SRP isn't a superior guitar, it's a different guitar. Most guitarists have a wide variety of guitars at their disposal depending on the tone and sound they want, and virtual guitars are no different! SRP *is* more flexible than IBZ, meaning it has a very well-rounded tone, but being a jack of all trades means you can't excel in any one thing. IBZ is more aggressive than SRP, period. It has a thinner tone with emphasized pick attack. That is highly desirable for a lot of styles.

    Plus if you do have IBZ you can get SRP for only $79 instead of the intro price of $119 (soon to be $139) so there's that, as well!

  7. I have to wonder if it's really the artist you're mourning or the era he came from. I kinda wish I could find a cover of Prince singing "Don't Know What You Get 'Til It's Gone" to punctuate my post with, but this pitiful acknowledgement that I have nothing is all I can muster.

    When someone dies, it's good to honor them by remembering their best qualities and their finest moments. For some musicians (actors, celebrities, whatever) that might mean things they did earlier in their career. That's not wrong, that's just being respectful. Plus even if you don't think he was relevant since the height of his popularity in mainstream culture doesn't invalidate everything he's done since then. As far as 'big artists from the 70s and 80s' go he had a very prolific career writing albums and touring all the way up until his death...

  8. I do agree with him (and newt) that the characters feel a little same-y compared to previous iterations of the main series. Not necessarily the LOOK of the characters but how they play and what their strategies are. Plus some of the movesets seem a little slapped together. But I guess that's what happens when you give many characters 4 special moves, plus 4 EX moves, V-Trigger, V-Skill, and CA. There's gonna be more overlap.

  9. Man, defending against rushdowns is definitely hard. Especially against 2000+ LP players, I feel like it's a constant barrage of block strings and if you slip up even once, you lose at least 1/4 your health bar. For some characters I'm getting a sense of the frame timing and block stun but there's so much to memorize... like I went up against Vega for the first time today - 4 matches total - and lost all 4. Each time I got a little better but because hardly anyone plays him, I still have ALMOST no idea what his priorities are like, hitboxes, normals, etc.

  10. Not exactly what was asked, but Earthbound is a game that became much more appreciated over time. When it came out and for some years afterward, it was viewed as just a mediocre Dragon Quest-type game with obsolete gameplay and graphics. But gradually people began to really appreciate the game's very unique story, art style, and humor. I think the Internet helped a great deal with that.

  11. I'm really starting to get a feel for this game, and I'm winning way more in ranked now. Probably the hardest thing to deal with is relentless aggression from almost every character. Like Tom (newt) observed, pretty much the entire cast wants to rushdown in one way or another. In order to beat those tactics you HAVE to get a feel for frame data... which is a big pain even with this limited cast, especially since EX + sometimes V-Trigger versions of moves have different timings. I couldn't imagine what it would be like if the cast were as big as USF4.

  12. How do you punish Ryu's blockstring that has the 2x MP -> light hadouken, as Nash? Actually I seem to have that problem a lot, I sit there for a long block string and then don't have anything to punish with (my go-to is cr.mk but it's often out of range)

  13. OK since people keep telling me how good this game is I bought it. Again. And this time I just picked one character (Nash) and only played with him instead of switching around. My mentality this time was to completely ignore the V-Trigger/Skill stuff, command normals, and target combos, and just focus on special moves, normals, and EX moves (no super yet.) And surprisingly I'm doing all right. Once I get the hang of all that stuff I'll add in the new mechanics one at a time.

  14. Haha yeah Vega's claw dive is a little bullshitty. It IS blockable and you can knock him out of it, it's just hard. It CAN cross up but doesn't always, which makes it hard to deal with.

    I'm saying sf5 is MUCH simpler than 4 and 3.  That's objectively true.  It's fine to not like the game, I honestly felt the same about KI the past week when I tried it, I love to watch it in tournaments but I didn't like the feel of the game.  But SF5 is a game with lowered complexity made to appeal to a wider audience than sf3 and 4 did, it's just objective fact.

    I agree it's "simpler" in terms of executing moves. No 1 frame links and more lenient inputs. But I disagree that it's "simpler" in terms of mechanics compared to 4. They took out ultras and focus attacks and added V-Skills and V-Trigger, while leaving in EX moves. Seems like the same amount of extra stuff to me.

  15. We should both be working right now... :-)

    The HDR combo video isn't a good comparison. Like he says at the beginning they're prohibitively difficult, requiring unrealistic setups. High level SF2 matches don't look anything like that, ever. Here's an example of very high level play... 

    It's almost all spacing and poking with proper timing on special moves. Very few combos outside of the most basic stuff, and even then most of the health bars are being depleted through pokes. This is my kind of fighter. 

    My experience in SF5, even at the lowest level casual play, was that people were throwing out long combos regularly. My opinion is that memorizing those strings is tedious and adds unnecessary cruft. It also makes matches take longer. I'm not a fan, for the same reason I didn't love SF4.

    What sealed the deal for me was playing against a Ken as Ryu. I could read him a mile away and punished blocked shoryukens with a two hit combo (I think cr.mp into hadouken or something, standard stuff). He whiffed a lot and made mistakes left and right. But my punishes only did about 10% damage. Meanwhile, if I made a mistake, he'd get 33% of my health bar with some long combo string. Yeah I could spend hours in training memorizing the combo strings, V-cancels, which EX moves combo into which other moves. But I just don't want to.

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