“ Riffology” method (Optimized randomness) by Peter Langston
32 eight-note melody fragments
Algorithm chooses how fast, how loud, when to omit notes, when to insert rhythmic break
Working With Constraints: Commodore 64 Track 1 (e.g. “Level_One”) Instrument 1 (envelope, waveform, effect filters, etc.) Instrument 2 (envelope, waveform, effect filters, etc.) Rob Hubbard’s Module Format Pattern 1 (sequence of notes) Pattern 2 (sequence of notes) Pattern 3 (sequence of notes)
Combining modules (in MIDI) with control statements MIDI and the Creation of iMUSE Land, Michael Z. and Peter N. McConnell. Method and Apparatus for Dynamically Composing Music and Sound Effect Using a Computer Entertainment System . US Patent No. 5,315,057. 24 May, 1994.
Super Mario World (Nintendo 1991) (Koji Kondo) Musical layering technique Mario jumps on Yoshi & gets extra layer of music (SNES).
Legend of Zelda: Ocarina of Time (Nintendo 1999) (Koji Kondo) (N64)
“ adaptive” audio is generally referred to as sound that reacts to transformations in the gameplay environment—such as a change from day to night set by a game’s timer mechanism . Adaptive audio is not directly triggered by a player
Adaptive Audio Change in music day to night Wolf, crow
Notice how the mix changes every time the mouse gets a piece of cheese.
Music loop 40 seconds. 10 different combinations: therefore, each level has more than 6 minutes of different music mixes. “Because the mix changes depending on gameplay, the music will never play exactly the same way twice, thereby increasing variation and decreasing "ear fatigue."”
In fact, there are two more sets of tracks playing two more styles of music, using the same tempo and percussion tracks as the first level.
Entire game contains almost 20 minutes of various music mixes, using only 68K of compressed sample and MIDI data.