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  zaterdag 7 juni 2025 @ 15:14:08 #126
233102 cherrycoke
"Fear is a weapon."
  woensdag 25 juni 2025 @ 18:57:09 #131
233102 cherrycoke
"Fear is a weapon."
pi_218043042
"I wear the mask to protect the city… but the city is what made the mask." – Batman
  Moderator / Redactie FP zondag 29 juni 2025 @ 18:43:07 #133
90910 crew  Drizzt_DoUrden
Rawr
pi_218076033
[b]Dingen doen met dingen, da's machtig mooi
Twitch: <a href="https://www.twitch.tv/drizzt_dourden" target="_blank" rel="nofollow norererer noopener" >https://www.twitch.tv/drizzt_dourden</a>[/b]
pi_218157116
It’s Ridge Racer everybody. Riiiiiidge racer!!!

Ik heb nog nooit een Ridge Racer gespeeld maar de muziek is wel tof. Geldt ook voor Gran Turismo.

Bekijk deze YouTube-video

Bekijk deze YouTube-video
  maandag 21 juli 2025 @ 16:16:34 #139
117098 Hathor
Effe niet
pi_218278150
Morrowind met afstand. VTM Bloodlines heeft ook wel goeie tracks.
Radical islam is the snake in the grass.
Moderate islam is the grass that hides the snake.
pi_218304984
Jeremy Soule sowieso O+

Bekijk deze YouTube-video
pi_218351374
Bekijk deze YouTube-video

quote:
Yuzo Koshiro

His soundtracks for the Streets of Rage series (known as Bare Knuckle in Japan) from 1991 to 1994 were composed using then outdated PC-8801 hardware alongside his own original audio programming language. According to Koshiro: "For Bare Knuckle I used the PC88 and an original programming language I developed myself. The original was called MML, Music Macro Language. It is based on NEC's BASIC program, but I modified it heavily. It was more a BASIC-style language at first, but I modified it to be something more like Assembly. I called it ‘Music Love'. I used it for all the Bare Knuckle games."

The soundtracks for Streets of Rage (1991) and Streets of Rage 2 (1992) were influenced by house, techno, hardcore techno, breakbeat, funk and ethnic music. He also attempted to reproduce the Roland TR-808 and TR-909 beats and Roland TB-303 synths using FM synthesis. The soundtrack for Streets of Rage 2 in particular is considered "revolutionary" and ahead of its time,[8][9] for its "amazing blend of swaggering house synths, dirty" electro-funk and "trancey electronic textures that would feel as comfortable in a nightclub as a video game." The soundtrack also features contributions by Motohiro Kawashima, who also worked at Ancient at the time.
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