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Freelance Police Dispatch Pre-ordered The Devil's Playhouse? We've got some awesome developer exclusives and a sneak peek at the behind-the-scenes action of making the game in here!

 
 
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Old 04/06/2010, 04:02 pm   #121
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Wait, he sings?! And Jared hasn't capitalized on this?!
I know, right? He sings, he worked at Wavegroup doing the vocals on the cover songs in early Guitar Hero and Rock Band games, and he's the world's greatest live loop beatboxer. So it's a shame he hasn't been asked to use that skill in any of the Telltale games yet. Although to be fair he has been absent for a while (he played Max in s01e01, then had to leave for a while for health reasons), and only started working with Telltale again for Monkey Island, which Jared didn't work on... but now I'm pretty sure both Jared and Kid Beyond are both working on SM3, so hopefully something awesome will come of that.
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Old 04/07/2010, 01:37 am   #122
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1. So, I was kinda wondering... which comes first when designing a scene for a game? What I mean is, what does Telltale do first? The music for the scene, or the scene itself? Do they design the scene around the composition or... which is easier?
If I listened at my audio-commentaries correct the scene is done first, afterwards the music. With the exception of songs like the Mariachi or War Song of course.
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Old 04/07/2010, 03:02 pm   #123
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If I listened at my audio-commentaries correct the scene is done first, afterwards the music. With the exception of songs like the Mariachi or War Song of course.
I do wonder what would happen the other way around, though...
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Old 04/07/2010, 04:47 pm   #124
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I do wonder what would happen the other way around, though...
You get the Toy Factory in 103. The audio commentary for that episode said they tried to sync the background animation to the soundtrack. You'd be surprised how much character it adds to the environment if you, say, mute the music.
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Old 04/07/2010, 06:55 pm   #125
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Yeah. I mean, I always thought it would be easier in some cases to do the music first... of course that's just me.
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Old 04/08/2010, 10:52 am   #126
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Jarred, I loved the previous games tracks, I have Season 1 on DVD PC from amazon and the season 1 soundtrack is with it! Is there any music you can reveal? If not then can you reveal some of the music's titles?
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Old 04/09/2010, 07:33 am   #127
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I have a question:

1. How do you think up the music for your songs?
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Old 04/13/2010, 10:00 am   #128
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Jared:

"Radical" from Sam & Max: Chariots of the Dogs is my favorite piece from you, because it really sounds totally 80's to the max! Did you play all the instruments, or did you have session musicians play the guitars and sax?
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Old 04/14/2010, 05:05 pm   #129
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Dear Mr. Emerson-Johnson,

Do you fiddle around until you find a nice-sounding melody and perfect it from there, or do you use another composittion method?

P.S. My favorite song of yours is "Wold of Max"
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Old 04/15/2010, 01:02 am   #130
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and the season 1 soundtrack is with it!
Little info for you: The PC-release contains only a fraction of the soundtrack... you can get the full thing HERE (and HERE's Season 2).
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Old 04/15/2010, 03:50 am   #131
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I know this, because the propper non-2.0 Bosco's isn't on it, but I can't be arsed to get the full thing.
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Old 04/15/2010, 01:17 pm   #132
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General Skunkape's spaceship theme is amazing! It really reminds me of 80's sci-fi, like the Explorers or something.
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Old 04/15/2010, 07:27 pm   #133
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I love your music in-game. It's awesome. I was curious, how much of the music in this season was recorded with real instruments, compared to the past two seasons?
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Old 04/17/2010, 05:15 am   #134
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I don't know if anyone will read this now that the game is released, but I just wanted to congratulate Jared. The music in 301 is amazing. I particularly like the way the music warps into a twisted version of itself in Max's mind. Is it just me or does the music change depending on the way you move the camera in Max-mode? That's some great sound design right there.

Needless to say, this game needs a soundtrack release.
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Old 04/23/2010, 11:03 am   #135
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id have to friggen agree

im wondering if there will be something in depth on the evolution of sound of sam n max

and im SURE this will get a soundtrack release.. it has to .. right?

right??

doh
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Old 04/24/2010, 04:45 am   #136
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I love the ending credits song because it actually sounds like something at the end of a TV show. It's probably the first time in a long time I keep playing the credits over and over again just to hear the music.
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Old 04/24/2010, 11:40 am   #137
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@Zeek: Also I have to congratulate not only Jared but the whole TTG staff on stuff like that: The whole episode feels like a Tv show, especially now with the Narrator to drag us along, Twilight Zone-style.
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Old 05/31/2010, 11:34 pm   #138
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I reckon the narator is the devil
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Old 06/01/2010, 02:33 am   #139
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I reckon the narator is the devil
Where does this fit in with Jared?
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Old 08/18/2010, 05:26 pm   #140
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I guess this question is for the future if you ever pop back in to answer questions.

So for season 3, the whole vibe is film noir. So do you find it easy to adapt the music to any sort of style or genre? Like let's say Season 4 had a very 80's New Wave-ish vibe. Do you think you'd be able to adapt to a whole new genre easily? Also, do you prefer the transition to a new style, or do you like sticking with the same kind of style that was in Season 1 and 2?
I really did enjoy the new tonal directions that the designers took with season 3--particularly the retro-synth 70s/80s sci-fi elements. It was fun to weave that new sound into the ever expanding tonal tapestry that is the Sam and Max score.

I actually think that this common thread makes the season 3 score more of a consistent, unified body of work than either of the two previous seasons. While I also had fun with the frenetic, ever-changing musical needs of the episodes in seasons one and two, it was fun to have a bit more of a focused through-line this time around.

That said, there was certainly plenty of genre variety across the different episodes in season 3, so I was also able to feed my love of doing-new-things-all-the-time.

To answer your second question: I really do love re-imagining the familiar themes and motifs through new genres, so I'd be happy to take future scores in further different directions. I also love the "classic" Sam and Max sound, so I'd be equally happy to do more in that style. The most important thing to me--and what made season three especially fun to work on--was that the new tonal directions in the music were always directly tied to the story that was being told, so it complimented the arcs of the episodes. That's always the most important thing to me.
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