Great composition! You're really talented at writing very calming piano parts
Twitchywhalez
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Thank you! We both used Logic Pro, for my tracks I did a lot of dividing everything into sections (White Dragon Crossroads in particular) one of which being a slap/thump bass section because I've been dying to record slap bass for a project. I normally do more ambient and orchestral stuff so there isn't much opportunity for that kinda stuff haha. We both have been working together on a lot of music projects pretty much since we both started making music, the collaboration aspect of Azure Drift was pretty simple we came up with the game idea together then we each worked mostly independently setting out to make two tracks based around that idea sharing our progress along the way so we didn't go to far off stylistic-wise.
This is very well done! I find that (at least for me) chiptunes are easy to get sounding generic. you do a good job of mixing in other ideas like the reversed piano in the third track, the old sounding piano in the sixth track (I think this one might be my favorite track, I love the vibe), and the chimes that pitch down in the last track. This was fun to listen to, great job!
Thank you! This means a lot to me. You pretty much nailed my intents behind elements in the soundtrack, Low bass growls representing the Eye of Time/creation of the protector, optimism, female choir for the witch, glockenspiel for jewels, etc.. I am flattered you believe this deserves all fives, I worked really hard on this but even after submitting I wasn't very confident on how many of my ideas landed, I am very grateful. Thank you for listening!
Thank you! Yeah Kevin Penkin was a big influence for this. I've been thinking about Made in Abyss and it's OST a lot lately so it definitely worked it's way in there.
I wasn't intentionally copying the Juroimoh Mutation synth but now that I think about it there definitely is some resemblance haha. I used Phase Plant (could probably send you the patch if you want it) and some external effects for more distortion. It's a saw wave then outside of the envelope in the generator section there's three oscillators being used for FM. A saw wave, a square wave, then another saw wave. These three oscillators are all pitched down -60 semitones and FMing each other in order before FMing the main saw wave that makes sound. Attack is 1.7 seconds, release is 389ms. Polyphony is set to 1, glide to 66ms and legato. There's a nonlinear filter (digital setting) cutoff at 879hz, Q at 1, drive at 85%. This filter is being modulated by an envelope that's roughly following the main envelope in the generator section. Then there's a notch filter at 620hz gain at 2db following the same envelope as the previous filter. Three random modulators are changing the volume of the three silent oscillators used for FM make sure they're different speeds for a more organic effect. There's a distortion in the patch but I used two instances of Rift by Minimal Audio to get the distortion sound. For external effects I used a formant filter that's using an lfo to move around vowels (I used The Orb by Audio thing but you could also use the formant filter snapin) it makes it sound more vocal especially with the distortion added. Then there's the first instance of Rift that's distorting use growl and teeth distortion modes and adding a little bit of delay that's having it's delay time and spread modulated a little bit by separate lfos, the mix is 18% , feedback is 0%, so it's not a lot. Then there's a very small bit of bitcrusher at ~3% mix. Then there's another instance of Rift with an edited Toasted Circuit preset (it's adding more distortion/waveshaping and some additional fast delay ~30ms). Then there's an eq to cut out low frequencies and tame the high end.
Thanks for listening! I hope the description of the synth isn't too nonsensical, I'm writing this very late at night haha