Quote:
Originally Posted by PISLIX
How did you start working with Telltale? How'd they reach you?
Can you shortly narrate one of your experiences about composing game musics? (It must be a special one.) (:
I totally loved both S&M seasons' OSTs. Will Devil's Playhouse's soundtrack be entertaining as others'?
Thanks for your time...
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We knew several of the founders of Telltale from back in the LEC days (Julian worked with most of them and we were all acquaintances. We met with them early on, as they were just starting production on the first Bone game, and it's been a pretty close working relationship ever since.
My process for writing any given cue for a game generally goes like this (you'll notice that the actual composition is a relatively small part of the overall production):
1. Meet with the designers to discuss the tone, story, characterization, etc. of a given space or sequence
2. Write up a "scratch" version of the music in Digital Performer using sampled instruments
3. Dub those parts to Pro Tools and make a rough mix
4. Master the scratch track and get it to the programming staff to drop into the game as temp during development
5. Go back into DP and export a MIDI file of the note data for all of the instruments
6. Import that MIDI into Sibelius and clean up/arrange/proof read the parts, adding all articulation and expression markings
7. Record the live instruments to replace the scratch parts in the initial PT session
8. Make a final mix, substituting the new live parts (and any improvised solo material) for the scratch
9. Master that file and get it into the game.
10. Play the game about a billion times, to make sure it's all working as it should, and make any mix adjustments if necessary
11. Sleep
Since it's all subjective I can't make any promises, of course, but I think you will really like the soundtrack to season 3. There is a LOT of new music this time around (much more than there was in the first two seasons), and I'm quite happy with how it's all turning out.