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Click to launch music player
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5.2.2008
"I think game music has become one genre and I am happy about that. But we cannot make progress if we just maintain the status quo. We need to continue to create something new and challenge ourselves. Sound effects (e.g. 5.1 channel surround) will be more expressive as technology advances, but at the same time, we might just rely on them and not fully exercise our creativity." |
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5.1.2008
"The artists were very receptive to us creating the 5.1 mixes of their work. Most of them have never done any 5.1 mixing or even heard any decent 5.1 music mixes, and because most of these guys are very tech focused they were very interested and curious to how their tracks would sound. Obviously the mixes had to get final approval from the artists, but we never had to do a single change to any of the mixes." |
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4.28.2008
"My goal for the music was to write something that could fit comfortably into the Halo universe, but that would also push the edges out a little bit. I’m happy with the balance – there’s a lot of familiar and a lot of new. Recording in Prague was great – we were able to get a different sound than I’d had before, and I think it lent itself well to the material." |
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4.25.2008
"Ideally it would be nice to have some musical continuity between a film score and a game based on the same franchise, but the reality is that this is often difficult to coordinate because of schedules and other factors, and although I welcome the opportunity to form a bridge between film and game whenever possible, it’s also important to realize that video games and films are two different types of media that often require different musical approaches." |
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4.23.2008
"The Chronicles of Narnia: Prince Caspian video game offers combat, exploration and puzzle solving that takes players throughout the familiar areas of Narnia from the second film and extends beyond the movie. As composer Mark Griskey was tasked with continuing the epic fantasy sound he had established for The Lion, The Witch and The Wardrobe whilst also expressing the darker tone of the story for Prince Caspian." |
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4.21.2008
"Playing games is inspiration, and always has been. From the first time I heard Apple IIe music, NES music, and then the sampled guitar riffs of "Afterburner" I was hooked. These days, it's a bit more challenging. It's easy to grab an orchestra and make something powerful. It's harder to make something as unique as in the old days, while appealing to a broader range of game players. I'd say finding new ways to create soundtracks is one of the most inspirational driving forces I have." |
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4.15.2008
"In this day and age, the gaming industry is one of the largest media markets in the world. They are definitely capable of developing upcoming artists just as well as the traditional outlets...In a movie or TV show, the audience will generally only hear a given song once. In a video game, the player might hear a song once, twice, or, dare we say, nine million times?" |
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4.14.2008
"We had to make sure that the game’s score started off rooted within the Prequel Trilogy feel of ethnic percussion and sweeping themes that spoke to the nobility and grandeur of the old Jedi Order. As the game progresses, however, the Empire gains more control, the Jedi are hunted, and the ordered control of the Prequels gives way to the more romantic temperament of the Original Trilogy. It’s a transition that Mark Griskey handled beautifully." |
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4.14.2008
Vince DiCola is best known as the composer for Transformers: The Movie (original animated version) and Rocky IV. Among his scoring accolades, he was a co-nominee for the "Best Album of Original Score Written for a Motion Picture or Television Special" Grammy Award for co-writing the soundtrack to the movie Staying Alive. Having spent the last decade or so producing music with numerous artists and working as a session musician for various recording projects, DiCola recently collaborated with the Japanese band T-Square for the new arrangement of the main theme music "Moon Over The Castle" for Gran Turismo 5 Prologue. |
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1.29.2008
"The unique blend of orchestral textures, synths, live guitar, bass, organic and synthetic percussion that all comes together to seem “inevitable” as a place to net out. That is, it sounds as if it always belonged together, yet finding that balance, that blend really is the hardest thing." |
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