The End Of An Era | Diggin’ In The Charts | Red Bull Music

The End Of An Era | Diggin’ In The Charts | Red Bull Music


(Narrator) Japan is a nation that has
influenced the world in so many ways. Be it their food, their technology, or their contributions to popular culture
like video games. For many of us the music of video games
played more in our households growing up than any other form
of music at the time. Yet for most of us, the composers behind
these timeless melodies remain faceless. DIGGIN’ IN THE CARTS is about unearthing
the men & women who inspired an entire generation while arguably creating Japan’s biggest
musical export to the world. ♪(beep)♪ ♪(footsteps)♪ ♪(bird humming)♪ ♪(beep)♪ ♪(sound of coin insrted)♪ (Man) The arrival of 32-bit technology
marked the end of the chiptune era, and ushered in a new era of video game music. Some companies brought
the latest club sounds to their games, while others sought to create
soundtracks on a level you’d normally expect from Hollywood movies. ♪(Rhythm Shift from Ridge Racer)♪ The PlayStation went on sale
at the end of 1994. The 16-bit game era ended there. And with that the quality of game music
changed entirely. The reason is
that 16-bit games before then had been on cassettes called cartridges, those were replaced by CD medium
on PlayStation. ♪(Kitsch from Tekken 4)♪ (Uchizawa) Tekken was an incredibly popular
fighting game at the time. It’s a fighting game,
but it has some comical elements too. I think Tekken’s music is very close
to club music style, and I think there were
a lot of up-tempo tracks that heightened the sense of elation
you get from fighting. ♪(up-tempo track of Tekken)♪ I’m a game director and chief producer at the first division of BANDAI NAMCO Games, my name is Katsuhiro Harada, This year is Tekken’s 20th anniversary, so it’s a year
that should really be commemorated. ♪(up-tempo track)♪ (Harada) Our fighting games
started from the mid-90’s and it was just when CD music
could be used in games as is. This was huge. So rather than an evolution of music,
it was virtually no limitations. ♪(Tekken music)♪ (Woman) I serve as a sound director
for Tekken franchises, and my name is Kanako Kakino. I want players to feel
a sense of exhilaration when they hear our music from Tekken. And I also think that I’d like to
introduce a lot of new music from many of our composers
to many game players. ♪(Sichuan, China from Tekken)♪ I composed music of Tekken 1 and 2 for the arcade and PlayStation version. Back then, StreetFighter II was so big. We wanted to top it, yes. As for the music,
it was really just one part of the game, so it wasn’t something going beyond that. Now it goes worldwide,
like club events and such. I never thought that
such a thing was possible. ♪ (Windermere, U.K. from Tekken) ♪ Tekken’s music was so popular
not just in Japan, but also overseas. It was something unique. Take this, for example. This is a Tekken vinyl LP
that was released at the time. Famous jungle musicians,
like Dillinja and Lemon D made remixes of tracks from Tekken. Tekken’s music was used
in this way as club music. ♪(Embu from Tekken 3)♪ (Man) With Tekken,
I did the arcade version of Tekken 3 and then the PlayStation version of it. As Tekken was a big franchise, I remember saying
“Wanna do it! Wanna do it!” What I wanted to do with Tekken 3 was
to create a consistent genre. What I wanted to do even more was… I liked The Chemical Brothers back then. And the Chemical Brothers features guitar and arranges it into a techno style. ♪(Fear from Tekken 4,
arranging guitar into techno style)♪ (Man) Sano-san started trying to do
the CB-style music for Tekken 3, and that was the beginning. I took it on and composed tracks
with a mind to bring club music to Tekken. I like clubs and its music, and often go to
clubs like WOMB or ageHa in Tokyo. I’ve been influenced by Japanese artists too
in many ways, especially by Ken Ishii and Takkyu Ishino. ♪(Paris from Tekken Revolution)♪ This is a BANDAI NAMCO’s sound room. I actually make a lot of
Drum ‘n’ Bass stuff for Tekken. When I was 15, Goldie and LTJ Bukem were both really famous producers then and I really liked both of them. ♪(Paris from Tekken Revolution,
featuring D&B, continues)♪ If someone learns Drum ‘n’ Bass
for the first time by listening to my music, that makes me super happy. So I shouldn’t write any mediocre music. ♪(Germany from Tekken Revolution)♪ (Man) As the hardware changes,
the sound quality gets better and better. so I think creating sound has
actually become easier. In other words,
you can express exactly what you want. Whether it’s guitar, bass, real drums,
and even brass and strings, I feel that it is getting easier to make
what you imagine into a reality. This track is from Tekken Revolution,
released last year. And it’s the track from the German stage. ♪(Germany from Tekken Revolution)♪ This is just me shouting. It’s actually a bit higher. Kinda like “Whhooooooaaa”! (laughs) ♪(Nina Williams from Tekken 3)♪ Around the time of Tekken 5, someone said they liked the Tekken 3 tracks
even then, and uploaded it onto YouTube, playing it on their guitars from US,
or from South Americas or Europe. When I saw such kind of things,
it became real to me. I first got a feeling for how they were listening
to my music and enjoying it, and performing it themselves. So getting feedback like that,
and I think this is true for all the people creating things, it makes you want to create something even better next time. Certainly, Japanese video game music
has ended up spreading worldwide, and may be the most listened to. It’s not something we aimed for, but we’re very proud of it. There’s no doubt we were trying
to make something really good, while everyone worked
day and night rubbing tired eyes. ♪(Battle against Peace Walker
from Metal Gear Solid Peace Walker)♪ (Uchizawa) Game music has really seen a wonderful evolution
over the past couple of decades. There’s a game called Metal Gear Solid, and it now has game music
with the same level of quality as Hollywood movies. I believe it’s because
the producer and creator Hideo Kojima, really likes movies and because the game
has a cinematic production style. He’s particular not just
about the game graphics but making the music feel cinematic,
like Hollywood. ♪ (“Sins of the Father” from
MGS V The Phantom Pain) ♪ (Man) I’m Hideo Kojima. I’m a game designer,
and make games like MGS at Konami. I originally wanted to make movies,
and I used to write some novels and such. When I was struggling to make a movie
as I couldn’t get enough budget, the NES came out,
and I learned of the world of games. I realized that you could tell a lot of
different stories through games too, so I ended up entering the game industry. ♪(MSX version of Metal Gear)♪ (Kojima) Back then, you couldn’t play
many sounds or voices but there was a challenge
within that simplicity. It was really fun. ♪(Main Theme
from Metal Gear Solid 2)♪ (Kojima) Since MGS2, we were able to use
higher fidelity sound from CD. So we went to
Harry Gregson-Williams of Hollywood to ask him to produce real sounds, then
digitally broke them down to play. That was the first time, I suppose,
we got started to make sounds
in a way like that of movies. Games aren’t movies, y’know,
but as in movies, I believe sound matters, 80% of it. ♪(Footsteps of a horse in sandstorm)♪ (Kojima) MGSV: The Phantom Pain
has an open world. If it were a linear game, like movies,
a camera would go a certain way
according to a rail. So we could easily add a right music with it.
But this is not. So we try to add just
environmental sounds normally. When a player gets somewhat emotional,
discovers something, acts peculiarly, or gets sad or angry, we add
a key melody or rhythm to fit the scene. That is a new challenge. ♪(Footsteps of a horse)♪ (Man) Kojima production adopted
a movie production system from early on. Foley is one example of that. Although there are free archives
of sound effects out there, the main advantage of using foley is
you can’t record the same thing twice. A waveform of it would never be reproduced. ♪(Soldier’s equipment clatters)♪ ♪(Sounds of run and jump)♪ ♪(Noise of lens switching)♪ Here are some sound examples. Firstly, this is a broken airgun. For gun movements. ♪(Sound of a soldier crawling)♪ ♪(rustling noise)♪ Soldier’s equipment. ♪(soldier’s footsteps)♪ This is wood (deck). This is a helicopter floor. And this is a catwalk. ♪(metallic clank)♪ Snowy area. ♪(sounds like walking on snow)♪ Salt and a little water. ♪(Footsteps of horses in sandstorm)♪ (Man) We’re using a lot of
just soundscapes, sound effects to make the player feel like they are
in the right area, in the right environment and focus on their task at hand,
which is usually sneaking, you know. ♪(noise of running)♪ ♪(noise of switching scope lenses)♪ (Ludo) We’re definitely still doing
a lot of orchestral stuff and it’s always important to know
what Kojima-san is into and what he wants. He’s really into rock as well, so we’re
definitely trying to find some kind of hybrid. ♪(Quiet music with female voice and piano)♪ (Ludo) The greatest development
in the whole game music industry is that it’s finally being recognized
by all these people in Hollywood. I’d love to see John Williams do something. Hans Zimmer has been doing it, Harry has been doing it for us, and more and more people
are getting involved and don’t look down upon it. ♪(the quiet music continues)♪ (Kojima) I don’t think you’ll believe me
when I say this now but I wanted to film a movie, since my dream didn’t come true,
I ended up in the game industry. Back then there was just pixelarts
with 16 colors and beeping sounds, and the characters had no faces
and there was no story. But I believed that someday this medium
would become more like movies, that is why I carried on, but I never expected
the level of expression would catch up with movies so quickly, It was a happy kind of
miscalculation for me. ♪(Area 1 from TurboGrafx-16 version
of Dragon Spirit)♪ Japan was first exposed to Western music
only a few centuries ago. Under these conditions, there is not
so many musical styles from Japan that have been widely embraced
by the world, in fact. It may be unique. Under the circumstance, the first music from Japan
to impact globally was game music. Japan’s video game music
is the most successful musical export. Because this is the one genre that has touched
the hearts of the global masses. I think that unconsciously
our real electronic music influence was those games. I think, like I said,
people like around my age and older that was really like the first kinda taste
of electronic music for us. Out of the hundreds of composers out there these people did something for me
at a certain point in my life that a) this is what I want to do
for the rest of my life and b) like I said, it’s almost
etched into your DNA. ♪(Ufouria: The Saga)♪ Those dudes are definitely legends, legends like a Michael Jackson
or anybody else. These games sold millions of copies,
so these dudes are legendary. They need their proper shine. ♪ (SPLUSH WAVE from OutRun) ♪

67 Comments on “The End Of An Era | Diggin’ In The Charts | Red Bull Music”

  1. This final episode is missing the English subtitles.  Only Japanese, French and Portuguese are available for selection.  Hoping the English becomes available soon because I've really enjoyed the series and I'll be disappointed if I have to miss out on the final episode.  Thank you.

  2. Simply the best series about this subject and my favorite in all the documentary ever made. Thank you all for the good work.

  3. THANKS is not a big enough word to say to those who made this amazing documentary and for the musicians themselves. However is the only word I have so again THANKS!!!!

  4. How come they mentioned Harry Gregson Williams but not Akira Yamaoka? Speaking of legendary dudes. It kinda feels incomplete without him. 

  5. end of an era, eh?
    more like:
    THE DEATH OF VIDEO GAMES AND VIDEO GAME "MUSIC"
    thank you tekken and your chemical brothers soundtrack for creating a platform that's allowed everything shitty 'bout gaming today to be realized.
    none of namco's employee's are "artists" and because these lesser creatives infiltrated the industry and hacked the culture – there are no tasteful games being made anymore.. so much to the point that it has corrupted the 'tried and true' franchises into making introductory-level fluff just so they can 'stay relevant' in today's ADD/no-attention span market.

    as for MGS.. all you've ever made was movies!

    also.. thanks for showing these rando producer kids and their relevant comments:
    "i mean, these dudes is legendary, cause they moved units, you gnaw muh sayin, so.."

    it's like aggrandizing a brand of cheese crackers to the point where you feel the designer of the cardboard box that the company used needs to be recognized.

    next!
    show us the underground modder empire!!
    who are making the (penultimate) games we wish we could play but these corporate magnates squeeze em out…

  6. Thank you for this documentary, I loved every episode. Thank you so much for bringing these amazing composers' voices closer to us! 🙂

  7. It was amazing, I really only missed the people behind Double Dragon and Ninja Gaiden maybe. They were just as eloquent and sophisticated in their composing as these legends.

  8. This series is beautiful. Thanks to the creators for making something epic like this. 🙂

  9. Thanks, it was great !
    But it's a pity, there was only report about playstation and some of it's major IP. (Tekken, MGS)
    No N64, Sega Saturn, Neogeo, Arcade of that time(end of 90s) and I dont even wanna talk about PC…

    Maybe for a next episode ^^

  10. I found it fascinating where the foley artist shows how he produces different sounds. And with a game like Metal Gear Solid, which is brimming with detail, he must put hundreds (if not thousands) of hours into his work.

  11. for me game music started to fail around this point as the restrictions musicians originally had were gone….and restrictions can help create creativity.

  12. I meant to watch this 4 years ago and just got around to it. This was such an amazing documentary. I cried so much during Episode 5… my emotions… the final fantasy music!! Ah, Nobuo Uematsu, what a happy lookin guy! I was secretly hoping this would also cover the music from Earthbound/Mother 2 from Keiichi Suzuki, because that music is engrained deep into my subconscious. Super stoked to find out a guy from Rebecca composed video game music, reminds me of my favorite J-pop band from the same era, PSY-S who had a member named Masaya Matsuura who did the Parappa the Rapper music!!! I LOVE EVERYTHING THANK YOU FOR MAKING THIS HELL YEAH

  13. The doc skips quite a few CD-based systems that started to appear mid 16-bit. Redbook game audio arrived well before PlayStation 1.
    I mean, Sonic CD's Japanese soundtrack… Ys 1&2 on PC Engine CD… so on and so forth.

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