The SECRET of Super Mario Wonder's Sound 

missed opportunity to call it warioware

​@@xaigamer3129 the MarioMare™

hi newer super mario bros wii music producer person how you doing

Okay I was about to say I didn't expect to see you here, but thinking again about it, yes, I totally expected that and it actually makes lots of sense.

@@xaigamer3129 iirc, the prececessor to the nintendo dev portal was named somethign similar to warioware. There are traces of that in the Wii SDK

glad you said something

true

Yasss

Girl! Alert!

Thumb farmer alert

and the pro controller

Through rumble?

It also eats through your battery way faster. Especially with the short battery life of the joy cons. Motors and audio amplifiers require a lot more electricity than just checking if a button was pressed every 10ms or whatever is suitable. You can have rumble without the music enabled in the ingame settings. I found that was a nice compromise. Or you can just turn rumble right off in the Switch settings. Don't get me wrong, I loved this little feature. But, I'd rather play an extra hour without charging the gamepad.

i need to try that out

@@ep5659 audio amplifier? But isn't it just... rumble? Its just vibrating, in a HD way or smth idk, "hd rumble"

how did i never notice this that's actually insane

@@CadenceHira the rumble also play a tune when you go on those yellow speed platform things too.

Golf Story does something similar, with entire sound effects coming from the rumbles

you can also feel a little three note looping tune through the joycons whenever you get on one of the dash block things

It also happens through the joycons

true! crazy how many mario games do this

Actually Mario Maker is one of the best games to show this. Because the note blocks also exist in that game, and they play different instruments based on the enemies that stand on them. Which basically allows you to make the most awesome custom soundtracks in the levels. (many created levels use this)

sEmI soLId PlaTfORM

​@@CadenceHiraEven the first Super Mario Bros. on NES synchronized sound effects with music! It's a tradition as old as the series itself.

@@Gnidel I’m confused on what part of SMB1 does this. Are you talking about how the limited channels on the NES will interlace sound effects from the game with the music, so for example when you hit a block it’ll cut out one channel of the music to play the sound? Or are you referring to how some sound effects like the mushroom sound are sped up versions of actual tracks?

percussion being added when you start walking is the simplest form of it in the whole game and yet i never noticed it in my whole playthrough, and only one person i watched play it (Dashiegames) noticed it. i was so surprised and ashamed i hadn't noticed honestly 😂

That was always the case in practically every Mario game since the NES.

Yes, I was pointing out the fact that the singing piranha plants follow that rule.

Woah, are you one of the sound designers?

@@sylvanhrowberry Hahaha, I wish!

Thanks! Tbh I mainly did the subtitles as an excuse to see how long it would take to do really complicated stuff lmao (the answer is about half an hour per minute of video).

I love how musical portal 2 is, like the individual puzzle elements sing. I forget specific examples, but I think the laser beams in particular have their own little tune

interacting with any of the gels as well as the launchers will add little flourishes

the 7th is often a defining characteristic of some chords (i.e. dominant 7) and they would completely lose a core part of their functionality/voice leading if the 7th wasn't there. the same can not be said about the higher tensions like the 9/13/etc. which usually just add color and slightly smoother voice leading.

I would say, it depends on the context. To put it simply: A - if you're studying "classical" ("tonal") harmony, as in counterpoint etc, then yes: the 7th is considered a dissonance, and has to be treated a certain way (prepared, resolved). B - if you're studying jazz, certain pop, etc, then pretty much every chord is always played with the 7th, for the reason Cadence Hira just explained. Mostly, I would say that: - a long form "classical" work is focused on structure and development (think Beethoven/Brahms, hours of music developed using only one melody, or even just 3 notes), so it has different sections and a clear big climax, so all of that requires also harmonic planning and "holding" complexity at first. - Differently, a "hit song" (and certain game music) is more focused on giving you a relatively stable "mood", so functional harmony is used differently (maybe we could say: in "faster/quicker" interesting phrases, with 7th used already from the start - while a big orchestral work will omit certain complexity in order to introduce it only at the climax of development. This is simplyfied, but hopefully it makes sense). [Of course, with time things changes even the classical domain: "we" got culturally used to more and more "dissonance" over time, and very early counterpoint manuals from centuries ago have different "rules" than modern ones, also baroque is different from classicism, then instruments started to be tuned with "equal temperament" and therefore people could start to modulate to more distant keys (playing in every key and adding more secondary dominants, that before would sound pretty weird or outright bad, "out of tune"), and then with late-romantic the tonality was chromatically expanded almost to the limit, and then with "post-romantic" like "impressionism" (Ravel, Debussy, etc) they went back to using modes, and non-functional harmony was (re)introduced, so that colorful sounds (aka 7th chords and more) started to be used for their color and therefore outside of the "rules" named above (look how much Debussy plays around with dom7th constrant structures, there are entire sections where every chord is a dom7th chord), and then even more with non-tonal systems (even attempting the "democratization" of pitches with the 12-tones "serialism" etc etc)]. [An interesting thing, that I heard said only by one person, is that this "loosing hierarchic structure" in music (aka from tonality, to its chromatic expansion, to non-tonality) followed the historic timeline of societies and political structures, with clear hierarchies (king, princes, etc) becoming democracies, and then even the first postulations of anarchism in time for Shoenberg 12-tone system, which is pretty interesting]. One funny thing, to me, was when my old composition teacher (who started from very early "simple" counterpoint to then go forward) told me: "You see, you have been introduced to the use of the 7th on the dominant chord, and now, of course, you always use it. Why? Sometimes you could have a dominant without 7th, you know..". Another funny bit is about Stravinskij telling his teacher (Rimsky-Korsakov) that they were playing Debussy in a nearby city, and they all should go (at that time there was no youtube, nor records, so it was still pretty rare to hear music that wasn't written around you), and Rimskij-Korsakov told him: "Oh no, I won't go. I already hear his [Debussy's] music once, and I listen to it again, then I will like it. But you should go.". Sort of meaning: 'It's new and different, if I listen or study it more than once, I will then like it and I'll have to learn and write in that style too: I'm old enough for all that. But you are learning now: you should go". - Similarly to an Art teacher of mine who looking at students work said: "Ok, I don't like this one, but (asking the rest of the class) do you guys like it?" Everyone said yes (we were all estatic for it). "Then, this is the art of the future. I'm old, my opinion doesn't matter, yours matter."

@@tommasoannoni481 Respect to that art teacher at the end tbh. Humbling.

Same. It sounds so lively.

No. You did not play the same game. They hated it cuz to them it wasnt super mario wonder , to them it was "the thing that made me not play spiderman2 wahoo man"

I was surprised this wasn't mentioned. It's the most obvious change and the one that astounds me the most. So many things alter the base soundtrack to the game, yet it's never jarring.

there were a couple of those star ball levels in the game but yeah, a lot of trouble to go through for something that didn't even make up like 5% of all levels in the game.

You're probably thinking of Scruffy's video on sound design in breath of the wild, which mentions this as BOTW does the same

​@@titanic_monarch796 ...Really should have thought to check Scruffy when trying to double check that alongside 8 bit music theory and game score fanfare.

@@Stephen-Fox I'm glad you found it and I'm not familiar with fanfare, so I'll check it out!

i play an INSANE amount of teamfight tactics. the new set came out while i was working on this script and I realized they pretty much did the exact same thing lol. I would make a video on it but it would pretty much be the same video it works like this though if you're interested: 1. all of the composers for every "band" were given the same tempo, key (I'll go into more depth in a second), general chord progression (they had freedom to mess around with this to keep things genre appropriate), and amount of measures/specific sections that had to play, i.e. at x point they have to have the teamfight tactics theme play. this makes it so everything could theoretically be played at the same time and it more or less sound good; every track is a just variation of every other track. 2. then specific "branches" were composed in the same manner; i.e. every composer wrote something for the carousel and one of those compositions plays randomly during carousel round. also, after one player dies, all of the music layers branch to a new track in a different key (the beginning of the game is in A minor and the 2nd half is in F minor. also the tft theme changes to a different theme at this point) 3. EVERYTHING is chopped up into vertical layers and exists as one gigantic vertical stack. the bigger vertical traits like heartsteel and k/da most likely have layers for drums, bass, lead, texture, etc. while smaller traits like jazz or hyperpop have like maybe 2 layers. 4. the game determines which vertical layers to unmute and the volume of said layers by checking which traits you have in and which breakpoints you hit. i think it also "fills in" the track that is playing if it's missing any musical layer that would have to be there (like drums maybe) but you don't have the breakpoint to hear the drums for your main traits, so it steals a layer from something that isn't active but you have a unit in (happens often with jazz i've noticed). this is all conjecture though please screenshot this and tag Mortdog on twitter asking if it's correct new set is so fun tho fr

omg i had no idea tft actually had this kind of music design i thought kiame was joking@@CadenceHira

it's ironic dw

10:31 theeeeeeere it is