#1
Hey people, If you have ever played Metroid, specifically Super Metroid on SNES, I was wondering how to get the same kinda eerie sound, If anyone knows what scales/modes they are derived from please tell.

Similarly if you've heard the intro to "How Long" by Cog (Australian Prog Rock Band, very Tool influenced) that kinda sound is something I'm aiming for, reminds me of the Metroid games' sound tracks.

Thanks.
Jackson DK2M
Washburn WD-18SW
Ibanez RGR421EXFM
Genz Benz El Diablo 100w -> Framus Dragon 412
Boss GE-7
Ibanez TS-9
#2
use a diminished hardcore minor with a major 7th and a raised bridge. should sound awesome.
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#3
Quote by GaijinFoot
use a diminished hardcore minor with a major 7th and a raised bridge. should sound awesome.


Indeed, never heard of any hardcore minor but hey thnx 4 the input, shall look that 1 up I guess, any other suggestions ppl out there?
Jackson DK2M
Washburn WD-18SW
Ibanez RGR421EXFM
Genz Benz El Diablo 100w -> Framus Dragon 412
Boss GE-7
Ibanez TS-9
#4
Quote by James13v
Indeed, never heard of any hardcore minor but hey thnx 4 the input, shall look that 1 up I guess, any other suggestions ppl out there?


He's being a ****. Ignore him.

For an eerie or creepy sound look at Diminished scales and progressions. You could give Locrian Mode a go I guess. It's all in context, it wont sound really diminished on it's own you need some form of suitable backing.
Help it helps a bit.
#5
None. Scales do not have moods, and the scale is very nearly irrelevant in the overall sound of the music. 99% of Western music is based in the major and minor scales. Start there.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#6
Feel free to post up some sounds clips or MIDI files for the tracks you're talking about. Sounds like something I'd like to analyze.
#7
Do as Archeo Avis said, and learn chromaticism. Alot of Nintendo composers like using forced harmony. Especially Koji Kondo. And for a really dark sound, mix keys. It's hard to do and sound right, especially if you're doing it for just listening music. If I do that then I usually have one take rhythm, and the other take melody. Or I give both a melody.

Just play along to the songs and figure out for yourself. That will probably help the most.
#8
Quote by DiminishedFifth
Do as Archeo Avis said, and learn chromaticism. Alot of Nintendo composers like using forced harmony. Especially Koji Kondo. And for a really dark sound, mix keys. It's hard to do and sound right, especially if you're doing it for just listening music. If I do that then I usually have one take rhythm, and the other take melody. Or I give both a melody.

Just play along to the songs and figure out for yourself. That will probably help the most.


What do you mean by forced harmony?
#9
Ok, them, thanks heaps guys, found the advice quite helpful, I've got some direction now.
Jackson DK2M
Washburn WD-18SW
Ibanez RGR421EXFM
Genz Benz El Diablo 100w -> Framus Dragon 412
Boss GE-7
Ibanez TS-9
#10
Grab guitar
Turn on Metroid
Make guitar sound like Metroid
Figure out what notes you are playing

Trying to figure it out by ear may be frustrating, but it's worth it.
Gear

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Voodoo Labs Microvibe
Analogman Chorus
Morley Bad Horsie II
Keeley Compressor (C4)
Nova Delay
MXR 10-band EQ
#11
Quote by Archeo Avis
None. Scales do not have moods, and the scale is very nearly irrelevant in the overall sound of the music. 99% of Western music is based in the major and minor scales. Start there.

I'd have to agree, but 99% is undoubtedly too high a figure. Lots of music is based on diminished scales, and lots of music is also based entirely in chromaticism. For example, there is a similar track to what the TS is talking about in the game FFVII, and rather than using the major/minor approach, for the most part the song is atonal, with diminished melodies.
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#12
Wholetone allways sounds quite magical and dreamy..

and +1 on the diminished... it's probably the best answer in this thread.
#13
Quote by KenjiBeast
What do you mean by forced harmony?

Take the same chord and just shift it, no matter if it's in key. Does that make sense?

Take a major chord, and move it up a fret at a time, that's an example of forced harmony.
#14
hmmm well its not the scale its how you use it you might want to look for tabs of metriod themes so something then use thouse to make your own stuf
#15
Quote by DiminishedFifth
Take the same chord and just shift it, no matter if it's in key. Does that make sense?

Take a major chord, and move it up a fret at a time, that's an example of forced harmony.


I have never in my life heard the term "forced harmony" used in that context...or at all. It is entirely possible to draw upon all twelve notes of the chromatic scale and remain firmly centered in a single key. In fact, I could build a stronger tonal progression using all twelve tones than I could using only the tones found in the diatonic scale.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#16
The best thing to do is just play with the feeling you are looking for ie. want something weird sounding then play something that is a little off beat. Using the dimished scale could help, but it is all up to you in the end. You could use modulaitons and chromatics.
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#18
Quote by DiminishedFifth
Take the same chord and just shift it, no matter if it's in key. Does that make sense?

Take a major chord, and move it up a fret at a time, that's an example of forced harmony.


Yeah, I know what you mean. Never heard that term, though, ever. And GOOGLE DOES NOTHING.
#19
Super metroid probably the best game ever made
I remember trying to learn the kraid theme and wondering what the hell they were doing theory wise then again i'm not that good with theory