Game samples FAQ

Game samples are samples that have been ripped out of a videogame. They typically come in the form of a "Game SoundFont®" (GSF), which is an .sf2 file (Creative Technology Ltd. SoundFont® file).

Game samples are (intended to be) used for composing music in the style of a videogame. Another common use for these samples are what are called "SoundFont® Swaps", where someone plays a random MIDI file, likely from another game's soundtrack, on another GSF. Generally, these are uploaded to YouTube. Occasionally, a GSF user will subtly modify a MIDI file or another type of tracker data, seamlessly inserting another soundtrack into a piece of music from the GSF's game, using the samples in the GSF to play arbitrary data in the videogame's instruments. These are sometimes known as "high quality rips" (especially by the community that creates these sorts of remixes) and are very popular on YouTube as a form of parody.

GSFs have varied sizes, but most of them are quite small (1-16MB). Later videogames that are designed for improved game consoles generally have an increased file size, sometimes greater than 256MB for manually created GSFs.

The amount of samples used in a GSF depends on many factors. The amount of instruments directly affects the number of samples used in GSFs generally, but each preset usually includes one preset, and one sample (with the exception being the one or more drumkits in the GSF). These are known as "one sample one instrument one preset" (1s1i1p) GSFs. 1s1i1p GSFs are generally of 4th generation game consoles like the Super Nintendo® Entertainment System and SEGA® Genesis, however are far more common on the SNES (GSFs are relatively uncommon in Genesis games), for a reason that I will explain later.

GSFs created from later videogames (generally of the 5th and rarely 6th generations) sometimes have more than one sample per instrument, but usually only have one instrument per preset. However, individual instruments may occasionally be 1s1i1p instead, especially if they are not melodic instruments.

A few GSFs are General MIDI mapped, but most use a mapping that is unique to that particular GSF. Generally, you cannot play MIDIs designed for a specific GSF on a different GSF without modification of the preset numbers. Most of the time, General MIDI mapped GSFs are manually created, or modified from ripped samples, as sample ripping tools for GSF creation generally cannot create General MIDI mapped GSFs. However, I do believe that newer versions of these automatic tools will be able to create GM mapped GSFs. Such a feature will be exciting, at least for GSF users.

Ripping tools, like "VGMTrans", are automatic tools that can be used to generate GSFs and their corresponding MIDI files (with program changes that correspond to the different presets in the GSF) directly from a game's ROM. Not only can they create .sf2 files, but some can also create sound banks in alternative formats (like .dls). Additionally, a different format called .vgm (video game music) can be generated. These .vgm files contain patch data used in real-time synthesis, which is required for the music of some systems (like those using the 2612 FM synthesiser chip) to play correctly. Think of a .vgm file as a .mid and patch data mixed into one file, which can be played using a special player. .spc files are the counterpart for SNES/SFC music (these files contain samples).

It is important to understand that the MIDI files that are generated by a ripping tool will usually only work with the specific GSF, as automatic tools are generally unable to generate a GM mapped sample library and/or GM MIDI files. (This doesn't stop users from taking ripped samples and assembling GM mapped GSFs using external tools.)

Additionally, ripping tools usually only work for a limited selection of game developers, as different game devs used different methods of storing samples inside the video game. However, for most methods of sample storage that are supported, these automated tools can automatically generate percussion GSFs with a GM-like drum kit map.

Let's admit it, you probably like "Rusty Ruin Zone" or "Super Sonic Racing". If you don't like these songs, "Gene Gadget Zone" or "Living in the City" puts a smile on your face. And, if you know a bit about GSFs and their community, you'd probably like to get hold of the samples used in the games "Sonic 3D Blast™" (Also known as "Sonic 3D Flickies Island") and/or "Sonic R™", both for the "SEGA® Saturn™". But unfortunately, such GSFs or sample libraries don't seem to exist, and the reason is "Redbook Audio". The rest of the section will explain what Redbook Audio is and how it prevents the creation of game sample libraries.

To explain this, I will create three categories of video game music:

1. Synthesised music (not using samples)

2. Tracker music (using individual samples)

3. Recorded (also called "streamed") music (not using individual samples)

Early video game consoles (from the very first consoles to the third generation, and a few fourth generation consoles) have synthesised music. Synthesised music is created by feeding synthesis data to a synthesiser chip. Either this can be a programmable sound generator (PSG), (commonly known as an "8-bit" sound chip), or an FM synthesiser (commonly known as a "YM2154/YM2612/YM3438", "OPM/OPN", "16-bit" or "Genesis™" sound chip depending on the exact type of chip). Some PSGs and all FM synthesisers can change the sound produced by the limited number of channels available onboard the chip using patch data found in the ROM. Many consoles with synthesised music combine the synthesis capability with a "PCM" (pulse code modulation) channel allowing playback of samples. Generally, .vgm format is used for games developed for consoles in this category, as patch data as stored in the .vgm format allows use of patch data to control the sound chip(s) in real-time. Also, patch data takes up far less space than samples. GSFs and sample libraries are less common compared to GSFs and sample libraries of games using tracker music and samples, but are still relatively popular.

Examples of consoles with synthesised music include:

1. Atari® 2600 console (2G) - 2 voice chip

2. Tandy 1000 IBM® PC compatible - 3 voice chip with noise channel

3. Early Sound Blaster® Soundcards - 9 voice 2 operator FM synthesis chip and PCM channel (Yamaha 3812)

4. Commodore 64 home computer - 3 voice chip with sawtooth, pulse, triangle and noise channels (SID chip)

5. Nintendo® NES™ console (3G) - 3 voice chip with noise channel, 2 pulse channels, 1 triangle channel and 1 PCM channel

6. SEGA® Master System™ console (3G) - 3 voice chip with noise channel

7. Gameboy® handheld (4G) - 3 voice chip with noise channel, 2 pulse channels, 1 wave channel and 1 PCM channel

8. SEGA® Game Gear™ handheld (4G) - 3 voice chip with noise channel

9. SEGA® Genesis™/Mega Drive™ (4G) - 4 operator FM synthesis chip and 1 PCM channel (Yamaha 2612)

10. SEGA® CD (4G) - It was used in combination with the Genesis, and therefore inherited its sound chip. It also used recorded music.

Later video game consoles (most of the fourth generation consoles as well as some newer consoles), have tracker music that relies on samples. Unlike the synthesised music (which can also be considered tracker music) of the previous generations of video game consoles, these consoles generally have limited to no ability to synthesise sounds from scratch, instead relying on samples stored in the ROM of the game. As little to no patch data is used, .vgm is less popular compared to its popularity in synthesised music, and sample libraries (especially GSFs) are the main method to store sound samples for use elsewhere. Tracker music was used instead of recorded music because recorded music required a large amount of space in the ROM, which was generally impossible until CD-ROM discs became commonplace. A member of the GSF community called Tahutoa has used "MOD" tracker files seemingly provided by the composers of the game at least once to create GSFs, and this is another, more ethical, method to create GSFs from tracker music.

Examples of consoles with games that use tracker music include:

1. Nintendo® SNES™ console (4G) - this console is commonly used to create GSFs

2. Commodore Amiga computer - used .mod file format

3. Nintendo® 64 console (5G) - also commonly used to make GSFs

4. Gameboy® Advance handheld (6G) - handheld console popular for GSFs

5. Nintendo® DS™ handheld (7G) - most, if not all games used tracker music

6. Nintendo® 3DS™ handheld (8G) - some games used tracker music

7. Playstation® 1 (5G) - some games used tracker music

8. Playstation® 2 (6G) - some games used tracker music

9. Nintendo® Gamecube™ (6G) - some games used tracker music

10. Nintendo® Wii™ (7G) - some games used tracker music

11. Nintendo® Wii™ U (8G) - some games used tracker music

12. Nintendo® Switch (9G) - some games used tracker music

When CD-ROM and later DVD-ROM and digital downloads became popular, the amount of space available on the media to allow music that is pre-recorded (i.e. not created in real-time using synthesisers or samples) increases, making such music possible. Music stored directly on a CD-ROM is commonly called "Redbook Audio" (from the colour of the book with the standard for CD audio). With this sort of music encoding, it is almost impossible to rip the individual samples. Therefore, GSFs are far less common here. Since "Sonic R™" and "Sonic 3D Blast™ for Saturn" use "Redbook Audio", the music cannot easily be decomposed into separate samples for use in a GSF to play different tracker data than the data that the sound data was intended for, hence the near-impossibility of there being such a GSF. However, "high quality rips" may still be able to be created using other methods, and in fact, the community has created "high quality rips" for "Sonic R™" (more on that later in this section).

Examples of consoles with games that include recorded ("streamed") music include:

1. Nintendo® 3DS handheld (8G) - some games used recorded music

2. Playstation® 1 (5G) - some games used recorded music

3. Playstation® 2 (6G) - some games used recorded music

4. Playstation® 3 (7G)

5. Playstation® 4 (8G)

6. Playstation® 4 Pro (8.5G)

7. Playstation® 5 (9G)

8. Playstation® Portable (7G) - most, if not all games used recorded music

9. Playstation® Vita (8G) - most, if not all games used recorded music

10. Nintendo® Gamecube™ (6G) - some games used recorded music

11. Nintendo® Wii™ (7G) - some games used recorded music

12. Nintendo® Wii™ U (8G) - some games used recorded music

13. Nintendo® Switch (9G) - some games used recorded music

14. Microsoft® Xbox® (6G)

15. Xbox® 360 (7G)

16. Xbox® One (8G)

17. Xbox® One X (8.5G)

18. Xbox® Series X|S (9G)

19. SEGA® CD (4G) - It used the Genesis sound chip as well as recorded music, a notable exception being the "past" music of "Sonic CD™" (in both the Japanese and American soundtracks). The rest of the music in "Sonic CD™" is recorded music.

20. SEGA® 32X (5G) - It used PWM channels which were used to play recorded music channels, in addition to the Genesis sound chip, but since most games didn't use the PWM channels, GSFs are still possible for many games.

21. SEGA® Saturn™ (5G) - most games used recorded music

22. SEGA® Dreamcast™ (6G) - some games potentially used tracker music

Generally, if a game is stored on a disc, or a digital download on a modern game console, it is likely to not be convertible into a GSF. This is why a Sonic R™ GSF is not possible! If a game is stored on a cartridge, and the console is incapable of creating music with just the PCM channel, it is likely to be convertible into a GSF. But, this is not hard and fast... Let us introduce the latest breakthrough in the world of GSFs...

RedHotSuperMario's "Sonic Adventure™" GSF is a breakthrough in GSF creation. They achieved this feat by meticulously cutting out samples from "Sonic Adventure™" audio files containing recorded ("streamed") music and creating GSF sample libraries from the resulting samples. This is the possibly the first time ever that someone has attempted to make a GSF from a game with recorded music, and if it wasn't, it has been a long time since someone has attempted to do so. It shows that making GSFs from recorded music is not necessarily impossible. Since the music files were collected into a standard format before the processing of the samples, this method can potentially be applied to SEGA® Saturn™ games, like "Sonic 3D Blast™ for Saturn" and "Sonic R™", which means that a GSF of these amazing soundtracks might not be impossible after all... not so fast.

Unfortunately for GSF fans, there is one huge limitation which must be followed when creating GSFs from games with recorded audio, and it is about sample isolation and single notes.

If instruments are combined together, as seen in most compositions, recorded music will not be convertible into a GSF.

However, if instruments are not combined together, it may be possible to convert the recorded music into a GSF, and the result is a GSF of a game with recorded music.

There is another way to create a GSF from games with recorded audio, and that is to find the sources of all samples used in the game. Once this is done, you can recreate the music using a sequence file, either remade or officially created. This is how some famous GSFs like the "Touhou™ SoundFont®" were created.

Some games with recorded music have different variations of the same soundtrack, either included in the game or on an official soundtrack (sometimes known as an "OST"). however, and these variants can be used for "high quality rips". Take a look at SiIvagunner's "Living in the City" parodies on Youtube and you can hear that SiIvagunner used the instrumental version and overlaid the "Panasonic® Blu-Ray®" lyrics. By using the instrumental version, now a "high quality rip" creator can overlay any lyrics they want, to convey the desired mood or other message. If you want to hear Siivagunner's "Panasonic® Blu-Ray®" rip of Sonic R™, you can search on YouTube "siivagunner living in the city short version".

So there you go, a verbose explanation of why your "Sonic 3D Blast™" for Sega Saturn or "Sonic R™" GSF doesn't exist. It's just because the song is recorded onto disc, and the individual samples can't be ripped.

N.B.: Sonic Jam™, the other Sonic game for the Sega Saturn used tracker music, and a GSF for Sonic Jam™ (with instruments ripped from the game) is therefore available here.

TL;DR: Don't expect to be able to monetise your "Sonic 3™ Ice Cap Zone Act 1 (Super Mario 64™ Soundfont®)" Youtube video you made, or allow people to use your General MIDI sound library that includes samples from video games in commercial environments, because it's almost certain that you will not be able to do so.

Firstly, something you need to know is that the samples are not realistic at all in most cases, because the samples are usually from games which were created for 16 bit (4th generation) consoles. If you want realistic samples, you can find realistic SF2 sample libraries on this website. However, if you still want to use a GSF or other game samples in your own work, feel free to read on.

Generally, these samples are in a "gray area", as the samples are ripped straight off copyrighted games. You might be able to use the samples under fair use, but it is unlikely that creating a whole piece of music from just the samples is likely to constitute fair use. If you use sound effects from a GSF or similar sample library sparingly in your original work, that is more likely to be allowable under fair use compared to if you copy parts of the original game music verbatim, for example.

These game consoles have very limited sample sizes, therefore there is usually only one sample per instrument (in the case of GSFs created from 4G console games). Very few are GM mapped, so you can not usually run standard General MIDI mapped MIDI files through a GSF. Never use sounds from GSFs in a realistic SF2 or other sample library, as the samples used in these games are unrealistic! Additionally, it is almost impossible to identify such samples in a large enough sample library, which means it is extremely difficult to make libre editions should you wish to make one.

Game devs (and the original sample creators) retain the copyright to these samples. Don't use them commercially, even if the GSF creator licensed it freely. The license given by the GSF creator is invalid as the GSF creator does not own the samples. In other words, don't follow the "Creative Commons Attribution 3.0 Unported" or other license you found on some random GSF set on Musical Artifacts, and instead treat it as something that you can't use commercially, because you can't, without the prior written permission of the game developer and original sample library author (for example Roland or Yamaha).

Game sample libraries are desirable due to the quality of the samples that make up the libraries. If this is the reason you want to use a game sample library, and you are interested in using samples for commercial use, consider an open source sample library.

Also, please note that even though game sample libraries are technically a violation of copyright, legal action is rarely taken against users. Someone has over 300k views on a YouTube video of a lazy GSF swap, and counting. And a famous gamedev who made a "mega-popular" game (get it?) and later got hired to compose Pokemon music, used 4G game samples in the soundtrack. Even if this is the case, you are better safe than sorry. I suggest that you do not use ripped content (like GSFs) in a commercial environment.

Since The Pokemon Company actually allows you to listen to the DP soundtrack online for personal use, don't bother ripping samples from a DPPT ROM just to post it online. The Pokemon Company can and will find you for it, taking down your videos. AND DON'T EVEN THINK ABOUT MONETISING YOUR GSF VIDEO, THE GAMEDEV WILL FIND YOU.

If you are a GSF YouTuber, be courteous, and upload one video per soundtrack per GSF. Don't post like 50 videos at once for each track.

Over the past few months, we've changed our stance on Game "SoundFonts®" (GSFs), so here's our updated stance.

GSFs and other game samples seriously harm the variety of sample libraries created by the SF2 community, especially for commercial use. If they are used commercially, the GSF users unethically profit from a game company's "IP" (intellectual property). However, the samples can be covered by fair use, allowing limited use of them.

GSFs are especially harmful, because they prevent many authors of "SoundFonts®" from being noticed. This is because GSF users post so much low quality content that people might associate the SF2 file format with game samples, which results in high quality "General MIDI" sound sets and realistic instruments being buried. Many authors that work hard on large projects, sometimes with north of 1000 instruments, end up getting far less popularity than authors that gleefully mass-upload low effort and ripped samples that they obtained from games, some of them they don't even own. This clearly isn't fair.

You might have saw me deriding GSF content as "low quality" in the above paragraph, and you might be asking for the evidence for this. So, let's show the evidence. But first, we need to explain how a demo video is made. To make a demo video, you'll need to download an SF2 library, a MIDI sequence and a MIDI player. Render the audio with the MIDI player, get a video editor, add some flair to your video to make it unique, and you're done. Even though the process of making a demo video for a sample library is similar for both GSFs and non-GSF sample libraries, it is far easier to create a GSF than non-GSF sample libraries. A GSF can be created from a dumped ROM in 5 minutes without any musical knowledge, while "General MIDI" sound sets can take months to years to complete, and require a basic knowledge of the format to create. Anyway, the General MIDI sound set beats the 16-bit "super" game console samples in realism. Obviously, far more effort is put into non-GSF sample libraries than GSFs, culminating in a higher quality result.

The issue with GSF users is that some don't think about the quality of their content. People just rip samples from their favourite games, and make them into SF2 files, without even caring about the SF2 community that do not use GSFs and how it hurts it. Some of the non-GSF users really want the SF2 community to not have as many GSF users. I do not mind people who use GSFs in a transformative manner, and I even like transformative uses for GSFs. Just look at some of the masterpieces that the SiivaGunner ("SiIvaGunner") group have made. What I don't approve of, is when GSF users just make lazy content about playing a large number of MIDIs using one GSF, and/or when GSF users play a single MIDI file using a large number of GSFs. This is exacerbated when each MIDI/GSF combination is uploaded separately to a video sharing website like YouTube. It's also exacerbated when nothing makes the videos stand out from other, similar GSF videos.

And no, FNF videos like "[song] but it's sung by [character]", "[character] soundfont for FNF", "[song] but everyone sings it", "[song] but it's sung by a different character per verse", etc. are done to death as well.

I am not saying "don't make GSFs", but at least be considerate about the non-GSF makers that spend their time and effort in making high quality General MIDI sample libraries. Additionally, make sure that the GSF content you make is of high quality and is unique from the crowd. Not only do people like me prefer this sort of content, it's more likely to be protected under fair use. Yet, the overcrowding of GSFers makes it almost impossible for people that make General MIDI sample libraries (or any "SoundFont®" that are not made from game samples) to gain recognition.