 |
 |
|
| |
|
Click to launch music player
|
|
|
|
| |
|
|
|
|
 |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
| |
| |
| |
 |
|
| |
| |
|
|
| |
|
12.12.2008
"EA recognizes the viability and credibility that a quality remix album can bring and spent the time and money to produce several remixes, helping bolster excitement for the game. The remixes here are high quality and from renowned electronica artists like Paul van Dyk and Junkie XL...More companies should realize the power of music and how we as consumers relate to it." |
|
| |
|
12.12.2008
"Wwise is an interactive sound engine meant to be used and integrated in games. It comes in two parts: the run-time sound engine, and an authoring tool. The former is integrated in the game, and performs audio-related functions when required. The game controls it through a simple interface (API), whose abstraction consists of Events and Game Syncs." |
|
| |
|
12.10.2008
"I have been surprised to converse with composers who think of video games as a stepping stone to movies and television. Game music is where it is at and is the new frontier, and it is where the greatest leaps of innovation in music and sound will take place....We in the video game industry are the new pioneers and innovators." |
|
| |
|
12.5.2008
"Treyarch/Activision placed no restrictions on style which gave me an unlimited palette. From an orchestral perspective, it's rooted in 20th century and modern symphonic music, but we go everywhere from there – rock, metal, industrial, trance. I try to musically follow closely the state of mind of the soldiers as they are subjected to more and more violence. This psychological approach gave us a great amount of musical latitude." |
|
| |
|
11.28.2008
"The music in this game doesn’t “call itself out,” nor do you walk away humming the Dead Space theme. The music in Dead Space was designed to support the mood and gameplay in the same way the sound effects and ambience support it. Actually, it’s sometimes difficult to tell exactly what is music and what is sound design. In fact, I have read some reviews that seemed to imply that Dead Space didn’t use any music at all (which I took as a compliment!). Sound as music, music as sound; clearly the result of a tight integration between a talented composer and a highly interactive/adaptive, procedural music system." |
|
| |
|
11.10.2008
"Around 3 years ago I got a phone call from Magnus Walterstad, Audio Director for Mirror’s Edge, asking if I was Magnus Birgersson, the man behind Solar Fields. He sent some concept art, I still didn’t know what the game was about or anything and Magnus asked me to audiolize the concept art to see if I ‘heard’ the same things he did while looking at the images. He said it was a perfect match and after some months I got invited to the DICE office in Stockholm and I got a short briefing on the project. In September 2007 I started to work full time on the music for Mirror’s Edge." |
|
| |
|
10.31.2008
"As I see it, the music of any NES game can be interpreted in two basic ways: Either you hear it as pulse wave melodies and white noise drums trying to emulate a set of “real” instruments, or you hear it as pulse wave melodies and white noise drums intended to be just that – electronic music of its time, played at the best ability by the primitive NES sound chip." |
|
| |
|
10.24.2008
"One of things I heard Jerry talk about over and over again is how absolutely terrified he was when starting a new film score. He was convinced THIS project was the one where “they would discover “I am a fraud” and his career would be over. Now, this is Jerry GOLDSMITH we’re talking about! I think that’s one of many reasons he was such a wonderfully gifted composer - he was constantly trying to improve his craft and learn something new." |
|
| |
|
10.17.2008
"It all boiled down to the style and sound we were looking for in the end. When we were compiling reference music for the score, Steve’s name kept appearing in our selections. The main things we were looking for were strong, recurring themes, a dark, aggressive style, and an overall epic, dramatic orchestra sound with electronic hybrid aspects and high production value. On all fronts Steve was at the top of our list; some of his existing film tracks were already very close direct fits for the Gears universe, which can’t really be said about any other composer." |
|
| |
|
10.10.2008
"All the music was recorded in Bratislava at the Slovak Radio Concert Hall using the Slovak National Symphony Orchestra. We had a LOT of music to record, covering many different styles including chamber, celtic, classic, quirky, pure pizzicato, atmospheric, dramatic etc. We booked 8 sessions over four days and ended up with around 3 hours of recorded music." |
|
|
|
|
 |
| |
|
 |
|
|
|
|
|