The music from the prototype of game Time Trax, which has long been considered hopelessly lost. This is the only game for Sega Mega Drive, for which he wrote the music Tim Follin.
And this is only using 2/3 of the Mega drive's sound channels. Not that they're needed in this case, as the other third is just dedicated square wave and percussion channels.
@@Nimta It's impressive that he used fewer channels but it also makes sense that not all channels were used. You'd want sound effects in the game, after all!
Tim Follin later said he regretted not working more on Genesis games, he found the ability to directly control the sound for each instrument was more interesting.
@@BlackCubone Aw, shoot. I'm sure he would of been able to stand on the same footing as other Mega Drive composing legends such as Yuzo Koshiro if he had done more.
@@SparkstarScope I agree, but honestly it made sense why Tim and Geoff Follin stopped making game music. They where treated like garbage from the game companies
I was never a huge fan of music on the Genesis (save for the occasional banger like Streets of Rage 2), and a lot of that was due to composer laziness and/or that God-awful sound library that popped-up after a couple of years of production (forgot what it was called and Google is being dumb). If the Follin's had worked on the Genesis I likely would've had a _much_ different opinion.
I legitimately had to remind myself this was a Sega Genesis making this. I honestly forgot, about half way through. Is there nothing this man can't do?
Legend has it the Follin Bros. are time travelers who perfected the "Philosophers Stone" eons ago and used it to give a dabbing of musical talent to Ludwig van Beethoven , Michael Jackson , Jimi Hendrix , Wolfgang Amadeus Mozart , Freddie Mercury , and a few others who weren't quite as talented as themselves. Another legend states something similar, but that they were the ones to introduce music to humanity in ancient times.
I'm imagining him furiously typing assembly into some ancient computer for several hours in the middle of a wedding and then playing the best song ever created just at the perfect time
In that case, you'd have to get married atop a hazy hill surrounded by spooky trees, the service would have to be led by a spiritual funk guitarist, the bridesmaids would be minstrels, with the entire ceremony constantly shifting in surprising new moods and directions, the likes of which no human has ever seen before.
Fun fact: Follin worked on this roughly after Plok (Released in September of '93, this game was being worked on from '93 to '94 before getting cancelled). If you're ever bored compare the 2 OSTs, as they have some similarities. For example listen to the bassline here and compare with the one in the Boss theme in Plok. They're practically the same.
@@processred2858Reading comprehension isn't the best on youtube, lol. He doesn't compose anymore hence the wasn't. Don't assume the worst all the time, dear.
@@youforget1000thingsaday yeah i getcha mang :0) i just got nervous cause of the other comment. i had thought for a second that they meant "he isn't still alive"
Would someone be willing to look for my brain? It just blew out of my skull! To think he did this way back when all these programs that make this seem "easy" didn't exist!
The YM2612 was a very complicated sound chip to program for. Despite this, the Follin brothers somehow did what few have managed to achieve, and actually bring out the chip's full potential.
ONLY work he did for the genesis, too. imagine just getting to know the system you're gonna compose music for and instantly laying down absolute bangers on it lol
Tim Follin was a genius even back to the days of the Spectrum how he pushed the limitations of each machine was amazing! A true genius up there with the likes of Jeroen Tel!
Theres no dac either which is insane for a song like this. A dac is sample channel btw, its what allows drums or voices. But the normal channels can be manipulated like how they are here to sound deep and drums. Better than dac sometimes too
Imagine a musical battle between Jesper Kyd and Tim Follin using the Genesis sound chip. Who would win? (Am I the only one who imagined such good shit?)
Jesus christ! good FM drums!? Now I KNOW he's a friggin genius! I have no idea why the follins never use samples unless they have to, like an amiga or SNES, but dammit they know their shit
the maestro. like Koshiro everytime he composed these 8 bit or 16 bit epics, it was like he strapped the infinity gauntlet on to maximize the system's sound power. i can't think of one composition he ever did bad for any system, which is sadly lacking in my videogame experiences these days.
