Consisting of little more than an octagonal tunnel, Frequency challenges the player to complete various songs by "playing" the correct instrument at the correct time. Each of the tunnel's surfaces represents a particular aspect of the song, such as vocals or drums. As you move through the tunnel, musical notes (represented by small indicators) appear on the left, middle, and right side of each surface. Pressing the corresponding button on the controller will activate these notes. Once you complete an entire section without making a mistake, it begins to play automatically, allowing you to move onto the next surface. The objective of course, is to complete the entire song.
However, one caveat is that the songs are broken up into sections, and if you do not complete the song before the end of a particular section, everything you've completed will revert back to its original state, forcing you to start all over again. A Remix mode allows players more creative freedom, granting the ability to mix and assemble the songs as desired -- the final mix can even be saved for future use. Both of the game modes support up to four players at once.
The lineup of over 25 tracks comes from well-known artists, such as BT, Powerman 5000, Orbital, and Crystal Method, some of which can only be unlocked by completing the harder difficulty sections.
~ Gavin Frankle, All Game Guide
Review: Overall
Frequency is an entertaining, in-the-moment sort of game that often requires the ability to put yourself in a trancelike state of concentration. With its neon-colored, hypnotic visuals and rhythm-oriented gameplay, it's really easy to get focused in on the action as you attempt to sync yourself with the beat and match the complex onscreen patterns. The game stands out because of its glossy, cohesive sense of style and the quality of its presentation. Every element is unified with a futuristic look and feel that goes a long way toward spicing up the fundamentally simple nature of the gameplay. On a purely visceral level, the game is a blast.
Reminiscent of both Tempest and Konami's Beatmania, Frequency innovates in the rhythm genre by adding the ability to rotate around an octagonal tunnel, which obviously adds a new dimension of complexity. The basic play mechanics are immediately obvious -- the more notes you hit in a row, the higher your score -- but even with a thick instruction manual and an in-game tutorial, the intricacies of the scoring system are unclear. Some completed tracks give higher scores than others, and special power-ups multiply your score, but the details of these elements are never really explained. Learning how to achieve high scores is a process of trial and error, which will be challenging to some and frustrating for others.
The only other design decision that could be interpreted as a flaw is the way the songs themselves are handled. Instead of progressively developing a song layer by layer, the gameplay amounts to a constant process of building and rebuilding instrument tracks. The result is that there isn't linear sense of completion or the feeling that you're creating music; rather, you simply keep playing until time runs out. So while the underlying concept of Frequency is solid and enjoyable, its somewhat unsatisfying execution keeps it from being the genre-defining title it could have been. For some, it might be tough to grasp what the game is really all about or what it ultimately leads to.
In the end, though, Frequency will probably be more accessible to most American gamers than previous beat-oriented games, both literally and stylistically, and it's definitely worth checking out. Those who are already fans of games like Dance Dance Revolution and Guitar Freaks will be more likely to be in tune with its particular wavelength of gameplay.
~ Skyler Miller, All Game Guide
Review: Enjoyment
It's easy to get sucked into the world of Frequency and become entranced by the combination of music and hypnotic graphics.
~ Skyler Miller, All Game Guide
Review: Graphics
The trippy, futuristic visuals are distinct and maintain a consistent style throughout the game.
~ Skyler Miller, All Game Guide
Review: Sound
The soundtrack is excellent and the way the individual elements of songs are linked together is seamless.
~ Skyler Miller, All Game Guide
Review: Replay Value
The game is structured so that high scores must be achieved to unlock additional songs.
~ Skyler Miller, All Game Guide
Review: Documentation
The color instruction manual is large and text-heavy, but it's confusingly organized and fails to succinctly explain the scoring system.
~ Skyler Miller, All Game Guide
Production Credits
Company 1: Harmonix Music Systems, Inc.; Project Leader: Greg Lopiccolo; Executive Producer: Alex Rigopulos; Lead Programmer: Eran Egozy; Music Director: Josh Randall, Chuck Doud; Art Director: Ryan Lesser; Producer: Tracy Rosenthal-Newsom, Tim Ryan; Game Systems Programmer: Dan Schmidt; Graphics Engine Programmer: Eric Malafeew; Game Shell Programmer: Christine Legge; Synth and Related Playstation 2 Voodoo: Doug Church; Programmer: Rex Bradford, Jonathan Cummings, Mike James, Denny Bromley, Jonathon Bell, Francis Phan; Lead Composer/Sound Designer: Dasson Crooker; Composer/Sound Designer: Tony Tripp, Christopher Child, Pete Maguire, Juno Kang; Game Shell: Dare Matheson; Game Shell Artist: Jason Arnone, Adolph Wong; Qa Manager: Erik Volkert; Playtester: Jeremy Bridge, Devron Warner, Daniel Sussman, Christian Wright; C.O.O.: Michael Dornbrook; Seneschal: Kris Fell; Network Administration: Jason Warburg; Tutorial Voice: Terri Brosius; Intro Cutscene: Treanor Brothers; Samples: Zero-G; Legal Representation: Gene Landy; Special Thanks: Chris Rigopulos, Spencer Saltonstall, Jesse Wiens, Ryan Schafer, Steve Desilets, Paul Bernstein, Tim O'Keefe, A.J. Wolosenko, Warren Spector, Ion Storm, Hendon Pingeon, Rob Vawter, Jeff Adams, Shelley Ashitomi, John Aspinwall, Omar Brodrick, Pele Burgess, Claudette Castillo, Bruce Cochrane, Brian Dimick, Ron Eagle, Allan Frankel, Butch Freedhoff, Michele Freeman, Keith Friedly, Brian Hale, Kim Henning, Kaz Hirai, Jeff Hutchinson, Ian Jackson, Grace Kao, Lori Kajiya, Rich Larocca, Chuck Lacson, Kenneth Law, Ed Loonam, Hunter Luisi, Grant Luke, Troy Mack, Kaytie Mandell, Colin Maclean, Natasha Mirosnkoff, Letha Moore, Frank O'Malley, Susan Nourai, David Pfaff, Dayton Paiva, Tenny Park, George Richard, Jonathan Ries, Rick Rooney, Mike Rose, Rob Segal, Sarai Sequeira, Cy Tano, Jack Tretton, Mark Valledor, Joe Ward, Rapp Collins; Company 2: Sony Computer Entertainment America; Vice President of Product Development: Shuhei Yoshida; Online Studios Director: Randel Reiss; Assistant Producer: Mike Benton; Online Studio: Justin Wolf, Scott Haile, Kenton Hoover, Nadine Miller, Michael Chow, Hunter Luisi, Mike Reitmeyer, Tony Ramos, Satoe Haile, Van Dempsey, Walter Gonzales, Brian Edenfield, Christian Davis, Greg Orduyan, Jacky Powell, Jeppe Oland, Lasse Faabeng, Tiffani Butler; Director of Audio: Buzz Burrowes; Director: Michael Blackledge; Senior Manager: Ritchard Markelz; Technology Manager: Kevin Simmons; Project Management: Nicole Nokes; Project Coordinator: Eric Ippolito; Core Manager: Sam Bradley; Usability Manager: Christian Arends; Lead Tester: Jim Harper, Christian Low; Assistant Lead Tester: Ian Gorman; Core Test Team: Caley Roberts, Jeff Custis, Ramon Ortiz, Geoff Yeh, Tad Hirabayashi, Richie Hideshima, Joel Sigua, Randy Chu, Petros Rotsidis, Mike Desenganio, Jason Dean, Kelly Smith; Director Information Technology: Paul Moore; It Support Engineer: Chip Capelik, Derrell Jenkins, Jeff Eng, Brian Edenfield; Senior Vice-President of Marketing: Andrew House; Director of Marketing: Ami Matsumura-Blaire; Product Manager: John Koller; Product Marketing Specialist: Maggie Rojas; Director of Public Relations: Molly Smith; Public Relations: Patrick Seybold, Ryan Bowling; Director of Promotions: Sharon Shapiro; Promotions: Andrew Adams, Donna Armentor, Aimee Duell, Johanna Legarda, Mary Thomas; Director of Creative Services: Ed Demasi; Creative Services: Josh Bingham, Marv Cabanero, Peggy Gallagher, Ted Jalbert, Marie Macaspac, Quinn Pham Le, Jack Siler, Noel Silvia, Ben Wallace; Direct Mail: Kim Yuen, Jesse Caid; Director of Online and Direct Mail: Steve Williams; Legal and Intellectual Property: Dan Figueroa, Brian Fukuji, Lisa Lunger, Michelle Manahan, Ninalei Morrison, Susan Driscoll, Riley Russell, Diane Tucker, Jim Williams; Package Design: Creative Dynamics, Inc.; Documentation: Hanshaw Ink & Image; Music Credits; "Cosmic Assassins"; Written by: Richard Quitevis; Performed by: DJ Q-Bert; Engineered by: Kormann Roque; "Control Your Body"; Written by: Kasson Crooker; Performed by: Komputer Kontroller; "Danger Is Go"; Music by: Powerman 5000; Performed by: Powerman 5000; "Dynamite Fresh"; Written by: Jack Dangers; Produced by: Jack Dangers; Engineered by: Jack Dangers; "Ex-Girlfriend (The Psycho Ex Mix)"; Words and Music by: Gwen Stefani, Thomas Dumont, Tony Kanal; Performed by: No Doubt; Produced by: Glen Ballard; Recorded by: Karl Derfler; Mixed by: Jack Joseph Puig; Remix and additional production by: Philip Steir; "Exterminator"; Written by: Akrobatik; Produced by: Akrobatik; Arranged by: Akrobatik; Performed by: Akrobatik; Recorded and Mixed by: Akrobatik, Ray Fernandes; "End of Your World"; Written and Performed by: Robotkid vs Inter:sect; Remixed by: Symbion Project; "Funky Dope Maneuver"; Written by: Kasson Crooker; Perfromed by: Symbion Project; "Frequency"; Music by: Dino Cazares, Raymond Herrera, Christian Olde Wolbers; Lyrics by: Burton C. Bell; Performed by: Fear Factory; Produced by: Fear Factory; Mixed by: Dino Cazares; Engineered by: Duane Baron; "FreQout"; Written by: Kasson Crooker; Performed by: Symbion Project; "Funny Break (One Is Enough) - Weekend Raver's Mix"; Written by: Philip Hartnoll & Paul Hartnoll; Performed by: Orbital; "Higher Ground"; Written by: Ben Watkins; Performed by: Juno Reactor; "Ibiza Dreamz"; Written by: Kasson Crooker; Performed by: DJ HMX; Vocals by: Melissa Kaplan; "Ignition"; Written by: Martin Otteson; Produced and performed: Funkstar De Luxe; "Lo Fi's In Ibiza"; Written by: Ward, Whiteman, Machin, Dickerson; Produced and Performed by: Lo Fidelity Allstars; Vocals by: Lisa Millett; "Luge Crash"; Written by: Greg LoPiccolo; Performed by: SurgeCore; "Motomatic"; Written and Performed by: Tony Trippi; "Official Chemical"; Written by: Jason O'Bryan, T.K. Lawrence, Baqi Abdush-Shaheed, James Sheffield Dewes, Barry Ashworth; Performed by: Dub Pistols; "Railing Part 2"; Written by Roni Size & MC Dynamite; Performed by Roni Size; "Science Genius Girl"; Written by: Duke; Performed by: Freezepop; "See It"; Written by: Paul Oakenfold; Produced and Mixed by: Paul Oakenfold, Andy Gray; "Selecta"; Written & Performed by: Ethan E Eves; "Smart Bomb"; Written by: Brian Transeau; Performed by: BT; "The Winner"; Written by: Ken Jordan, Scott Kirkland; Performed, produced, and mixed by: The Crystal Method; "What's the Five-O"; Written by" N. Hall, M. Small, T. Terry; Performed by: Jungle Brothers; Produced by: Todd Terry; "Worst Mistake"; Written by: Toni Halliday, Dean Garcia; Performed by: Curve; "XLR8R"; Words and Music by: Jeff Robbins; Performed by: Orbit; Produced by: Jeff Robbins
In the game, a player portrays a virtual avatar called a "FreQ", and travels down an octagonal tunnel, with each wall containing a musical track. These tracks contain sequences of notes. As the player hits buttons corresponding to the note placement on the track, the "sonic energy" from within is released and the music plays. If the player plays two measures of the track without any errors, the track is "captured" and the music plays automatically until the next pre-determined section of the song.
Some tracks are bonus tracks and only open up when all notes are played, allowing the user to pick up "freestyle" points. Powerups are available which allow the immediate capturing of the track or the doubling of points. If a player continually misses notes, their energy meter reduces until the game is over.
High scores are achieved in the game by quickly moving from track to track, as they are completed, which increases a point multiplier. Tracks with more notes are worth more points, so choosing those over simple tracks is advantageous as well.
The game features 8 different 'arenas' that the player could attempt the song in. These arenas, as well as the tracks and notes, take on the appearance of Tron-style graphics, including limited video screens that would show the player's FreQ if the player was doing well, or static if the player was about to run out of power. Depending on the arena chosen, the track would curve and loop around indefinitely until the end of the song. One arena is noted for being a completely straight track, thus working well as a practice arena for some of the more difficult songs.
Frequency allowed players to create remixes of any of the songs in the game. While the player was limited to the instruments and structure of the song, the remix could include different melodies or beat lines, change in tempo, and modulation of the sound of an instrument. Remixes could then be saved and played as normal songs, though no high score records are kept for these.
Frequency was one of the first games to be supported by the PS2 Network Adapter, allowing for up to four players to play against each other as well as to trade their remixes. Online play was added with an online-capable demo version (4 songs), supplied with the network adapter. The original disk could also be swapped after loading the demo disk, allowing online play with all songs. Multiplayer mode has all players attempting to complete the song on the same track, allowing for players to fight for the highest score. New powerups only available in multiplayer mode are able to disrupt the performance of another player. However, Sony has shut down the matchmaking server for online play and has made no provisions for third-party replacements.
Songs
Some of the songs are actually "in-house" productions by Kasson Crooker, who served as a musical director for the game and is also a member of the band Freezepop. Some of his aliases include: DJ HMX (HMX standing for Harmonix, the game's developer), Symbion Project, and Komputer Kontroller.
Several of the artist featured in the game would contribute to its sequel Amplitude. These artists include: The Crystal Method, BT, Akrobatik, Chris Child (Kodomo, of Surgecore), Melissa Kaplan, Freezepop, DJ HMX, Symbion Project, and Komputer Kontroller.
"Cosmic Assassins" by DJ Q-Bert is the version featured in the movie Wave Twisters, not the version found on the album of the same name.
In the European version, there is one extra song on first stage, called "Reeload - Why".[1]
Development
Harmonix had originally pitched the concept of Frequency to Microsoft but were told by now-former vice-president of game publishing Ed Fries that no music-rhythm game would succeed without a custom hardware controller. This advice indirectly lead Harmonix to become involved with Guitar Hero with a custom guitar-shaped controller, and leading to a multi-billion dollar franchise.[2]
Although this is stated, it's been a long challenged point in the Harmonix community, since FreQuency was known to originally be a PC game that started development in 1999. FreQuency was eventually released in 2001, a year before the Xbox was released, so the validity of this article is still being contested even to this day.