Kolzig Posted June 7, 2005 There's a feature on an independent music site called Pitchfork that details the many different aspects of Video game composition and how it differs from composing music for a Hollywood picture. They talked with some game composers such as Peter McConnell , Jesper Kyd and Russell Shaw. The effect made the games richer-- even if the user never consciously noticed it. "My experience with the iMuse system is we thought we'd invented this wonderful thing, and we rolled it out, and nobody really noticed," laughs McConnell. "The main point of adaptive audio is that you shouldn't know it's there anyway." Also mentioned is the issue of publishers paying big bucks to sign popular musical talent as opposed to giving creative freedom to a singular artist to create a soundtrack that is representative of the action on-screen. Share this post Link to post Share on other sites
baconian Posted June 7, 2005 the best bit: ...assigning theme music to characters (like in opera, or in the film I'm Gonna Get You Sucka) Share this post Link to post Share on other sites
Chris Posted June 7, 2005 Oh man, I hate Pitchfork so much, but I guess this is a pretty good feature. Share this post Link to post Share on other sites
steak-flavored gum Posted June 7, 2005 it was all right, but it didn't really tell me anything I didn't already know or suspect - I suppose it would have been nice to have something like this written by someone who is more articulate and knowledgable about music, specifically about some of the intricacies involving chance music, dynamic music, and what have you. I mean, you don't mention John Cage at the very beginning of an article if what you're writing about really has absolutely nothing to do with his work Share this post Link to post Share on other sites
