- #FOSTEX TT15 TEST TONE GENERATOR PURPOSE PC#
- #FOSTEX TT15 TEST TONE GENERATOR PURPOSE SERIES#
- #FOSTEX TT15 TEST TONE GENERATOR PURPOSE TV#
So when creating the music, we had to be very careful and mindful about the limitations of the sound hardware (in this case the YM2612 and Sega PSG).ĭuring Alisia Dragoon, the tried to have similar melodies on the PSG kind of ‘shadow’ the FM sound with a slight lag or delay while at the same time using different volumes.
#FOSTEX TT15 TEST TONE GENERATOR PURPOSE PC#
For example, the sound output by the PC in accordance with the number of simultaneous sounds (or channels), usable sound, and the presence / absence of memory, etc. …at that time, the music you create with the synthesizer you can’t achieve the same sound. But if needed (such as working for games on other hardware) we used an YAMAHA MSX to write the music and sequence it out.
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KASS: I believe we used RECOMPOSER RCP series (by KAMON Music) on the PC88/98 to write the music.įor the sound source, we had to simulate it on the PC (both the FM + PSG) while using the Roland SC88 and SC55 multi-tone generator. PA: How did Mecano write music for the Mega Drive (Sega Genesis)? Which hardware/software was used? I believe that most of those people joined after the 90s but since he was doing multiple projects he doesn’t quite remember the team for Alisia Dragoon in detail. KASS: It was actually a small company consisting of really just Aoshima and myself (Kasatani) and based on the contract, the staff we’d hire would changeSome of the staff we’d have work across multiple projects (or games) and some would come in part way thru the process. PA: What was the involvement of other employees or how did the team work?
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Anyways, we continued to do game audio for 10 years until I (Kasatani) began to do CM, TV and movies scores. A lot of people told me that i was too namaiki (which is like audacious or impertinent) but we believed that keeping our aspirations was the best way to do business. We only went with companies that respected and cared about the music in their games.Īt that time as well as now, in Japanese business culture there’s still a strong SEMPAI/KOHAI mentality, which means elders wanted to be bosses (regardless if you work for them or not) and so when had clients that were older, we had to remain very assertive to produce the sound we wanted. We were in our 20s and young but we were picky about who we did work for. We didn’t just take whatever job we could get. So for our company, Macano Associates, companies would come to us and ask them to create music for their games under a contract. And we were good friends.Īt that time, TV and Arcade games were the new craze but we only were interested in doing the music. We were in a band called Modernista in the early 1980s. KASS: I (Kasatani) and Aoshima-san founded Mecano Associates LLC in 1986. Could you explain to us how Mecano Associates started? Interviewed/translated by Pixelated Audio on 2017.01.10 for Episode 74 This is a short interview with Fumihito Kasatani about his companyĪnd the composition done for Alisia Dragoon (Sega Genesis) Fumihito (KASS) Kasatani (Leader of Mecano Associates LLC)
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