97 ответов в этой теме

[N-VIRUS]

По мне лучше переписаный оригинал. В TR1 итак музон классный, а если его переписать было бы вообще супер!

[Simona]

Оригиналы у нас уже есть, заслушаны до дыр. Лучше было бы позвать Натана МакКри, чтобы он сделал несколько ремиксов или похожих треков.

[Norder]

Думаю, надо добавить музыки. Оставить все старые саундтреки (переписать в новом качестве), но добавить еще и новые в том же стиле. Больше музыки в игре!

[TonX]

Ого! А я думал, буду единственным, кому будет пофигу )))

[ACE]

Norder прав.
Добавте, плиз, в опрос пункт "Оставить все старые саундтреки (переписать в новом качестве), но добавить еще и новые"

[N-VIRUS]

Люди! Извените что спрашиваю но что такое оффтоп?

См. правила форума, пункт 2.7.

Сообщение изменено: rhyn (28 June 2006 - 13:47)

[kusko]

Ого! А я думал, буду единственным, кому будет пофигу )))

Да нет.. не единственный)

[Анютка]

А помните ту музыку с TRAOD "title",кажись это был "переписанный оригинал"?!

!Переписать оригинал в хорошем качестве!
Почему бы и нет?

[ACE]

А помните ту музыку с TRAOD "title",кажись это был "переписанный оригинал"?!

Первый раз слышу. Вроде он был абсолютно новым треком.

[Анютка]

ACE,я не знаю и поэтому не утверждаю!

В том треке было что-то из музона третьей части...эх...

[N-VIRUS]

Трэк title из AOD был очень си льно похож на трэки из TR4 и TR5(ну по моему...).

[Fatal error]

ИМХО, можно засобачить в игру старые треки в более современной обработке.

[Ангел Смерти]

хотелось бы чего-то нового ))
самый лучший вариант это конечнож старые треки + новые , но т.к. такого варианта тут нет, голосовала за Новые Треки =)

[Uvnik]

Старые однозначно,и плюс бонус- чо-нить новое(в action сценах) в стиле рок.

[FeRRe]

если уж будут еределывать.. игру.. с улучшеной графикой и прочим тюнингом..то, на мой взгляд, с музыкой нужно поступить точно так же.

[Гэндж]

Не могу сказать! Потому что первый Томб у меня без звука был!

[ACE]

Похоже Troels Folmann будет так же заниматься музыкой для римейка.
http://www.tombraide...dlines3019.html

тут его интервью после Бафты:

2006 BAFTA award winning composer Troels Folmann is the man behind the next-generation Tomb Raider soundtracks. Troels has extensive background in scoring commercials, video game soundtracks and Hollywood blockbuster trailers. His recent game credits include: Tomb Raider: Legend, Tomb Raider: Anniversary Edition, Project Snowblind, Defender of the Crown, Sabotage, and Metronome. Additionally, Troels Folmann has a background as a Ph.D. scholar in interactive game music with focus on "micro-scoring", which is an advanced methodology for the creation of true adaptive scores. M4G caught up with the composer to find out more about scoring next-gen Tomb Raider.

M4G: First of all congratulations with your recent BAFTA nomination and award. How does it feel?
Troels Folmann: Thank you very much. It was quite an honor receiving the nomination and literally a shock to receive the BAFTA award. The award is super heavy by the way. It is 18 mighty pounds, but I guess it is to keep the speeches short.

M4G: Can you tell us about your musical background and how you got into scoring music for games?
Troels Folmann: I don’t really have a traditional musical background. The only person in my family who ever played music was my granddad – who had the unfortunate hobby of building AND playing violins. I did not speak before the age of six, which left me with a lot time to screw around. I had a passion for smashing things, so I inherently learned drumming that way. I firmly believe that the sense of rhythm should come before the sense of tonality. The understanding of rhythm is essentially for learning human movement and dexterity. So I kept on drumming for many years and started playing piano too, so eventually I developed some proficiency in music.

However I also had a side passion which was games and game music. I started composing music on my ZX Spectrum 48k and Commodore 64. I always enjoyed game music and I still recall the many wonderful C64 tunes by Rob Hubbard, Galway, Daglish and others. The SID chip on the 64 had an amazing potential, but things really got wild when I got my Amiga 512, which had stereo capabilities and so forth. I eventually got a sampler for the Amiga and I don’t know how many complaints we got from our neighbors. My favorite game on the C64 and the Amiga was Defender of the Crown, which was a multi-genre type of game in medieval England. Ironically this would also become the first larger commercial game I scored. Cinemaware made a version of Defender of the Crown for PS2/PC/Xbox and I had the pleasure of scoring it. But the real entrance to game scoring came through MODs. I did many scores for different MODs and I would highly advice aspiring composers to do the same. The MOD communities are amazing now and I still try to support them occasionally. I personally some of the greatest games came out of the MOD communities. Think Counter Strike, BF Desert Combat and so forth.

M4G: How and when did you start working with Crystal Dynamics?
Troels Folmann: I originally came to Crystal Dynamics as a Ph.D. scholar related to my research in game music. I was amongst the first people in the world to conduct deeper academic research into the media. However I tend to have a pragmatic view on things, so it was important for me to conduct studies together with the industry, which is one of the reasons I synced with Crystal. One of my prime research subjects is something I call: “Micro-scoring”, which we ended up using extensively in Tomb Raider: Legend.

Micro-scoring is essentially about breaking the game score into a variety of small components that are assembled in real-time according to player action and/or interaction. The micro-scores are made in such a way that they adapt to player action or interaction. You have to imagine that there are thousands of things going on in the game environment – the idea behind micro-scoring is to support the major elements in the environment. An example can be a 5-second score for breaking pillars or rolling stones. While motion picture scoring would typically have a musical element to support such an action, it would normally be dismissed in the game world. However the micro scoring techniques allows us to do just that.

M4G: How long did you spend writing and implementing the music on Tomb Raider: Legend?
Troels Folmann: I worked 2 months of developing music documentation on Legend. The majority of composers normally get started right away, however I conducted pretty extensive research into the game before I started scoring it. I studied the different locations in the game and their original music styles. I then bought some of the cultural signature instruments like Peruvian Pan Flutes, African Whale drums, Armenian Duduks, Tibetan Horns and learned how to play them in a decent fashion. I bought all the instruments at a great ethnic music shop called Lark in the Morning.

I then compiled all the information into a 100 page soundtrack document, which allowed me to know exactly what I was going for in the individual levels. I then started scoring the game, which took aprox. 8 months and the final result were over four hours of orchestral- and electronic music. Tomb Raider is a very difficult game to score, since the game consists of so many known world locations. Lara is a world traveler and to a certain degree I am a world composer. I don’t lock down on one particular style, but I try to learn and understand all music styles. I am particularly interested in contemporary music, so anything on the motion picture soundtrack scene or the electronic charts will get my attention.

M4G: How does the experience of scoring Tomb Raider: Legend compare with your previous game projects? Given the popularity of the original music, was composing for such an established and recognizable franchise a daunting task?
Troels Folmann: Tomb Raider: Legend was very different from most other projects I have been working on. I had just completed the cinematic score for the award winning Project Snowblind before Legend. Snowblind was an original title, so it was more open in terms of creative expectations, which allowed me to pursue new directions. However Tomb Raider is one of the most well established franchises in the game industry, so it is naturally succeeded by many levels of expectations. The fans have expectations. The team and producers have expectations. The publisher and marketing groups have expectations. It is my job to funnel all the expectations into a soundtrack that got mass consumer appeal. I believe this was my biggest task on Tomb Raider Legend and it was a major professional accomplishment for me to succeed in this.

The original game had many beautiful scores my Nathan McCree, so it was about finding a careful balance between the original material and yet provide innovation at the same time. The original Tomb Raider got this great four note them, which I also use in the beginning of the Legend theme.

M4G: Where was the score recorded and how many minutes of music were recorded live? Is there any electronic/synth material featured in the soundtrack? If so, how do the two styles complement each other?
Troels Folmann: The Tomb Raider: Legend score seems to surprise many people, since none of the music was ever recorded live. All the music was recorded on my 9 PC 20Ghz / 20GB / 10TB render farm, which is custom build for orchestral scores. The symphonic mockups are starting to sound so real that the majority of people cannot hear the difference any longer. I actually found quotes noting that the score was recorded by the London Symphony Orchestra. Unfortunately I can dismiss that rumor.

I added a variety of more contemporary electronic elements to the Legend score, whether it was mixing the orchestra with synths, breakbeats or solo voices. I also had the pleasure of beta testing some great technology, while we were in production. One of the great tools was a great symphonic choir library (EastWest Quantum Leap Symphonic Choirs), which essentially allows the user to type in any text and have the choir sing it. I used this extensively for one of the levels in Legend, where the choir would subtly provide the player with hints.

I personally believe that orchestral scores goes well together with electronica. It naturally depends on the context, but the two really work great together for the most part. One thing I really enjoy is epic scoring, which is the large, Hollywood type of scores. There is a common misconception that these are most symphonic by nature. While the certainly incorporate the whole orchestra – they also contain many electronic elements. Whether it is double stacking strings, applying drones to support and phatten the basses or adding a variety of percussion to get that off-the-wall type of sound.

M4G: Did you include any musical references to the original Tomb Raider soundtracks? What kind of instrumentation did you use for the main Lara theme(s)?
Troels Folmann: I philosophically believe that all music is referencial in nature. The Legend main theme is a really good example, since it starts out by playing the original theme on the Duduk – then followed my the new theme played on a middle eastern violin - then followed by a solo female voice singing verses from an old Gaelic folk song – then followed by an epic choir singing the new theme. The main theme ends in an explosion of orchestral elements, choirs and solo voices – slowly fading out with the Gaelic folk song. The main theme also includes a variety of layered percussions, guitars, drones, sound effects and plenty of reverb.

M4G: You’ve referred to your Tomb Raider: Legend game score as “feature film music.” Some argue that a lot of orchestral music in games is generic and too much like other film soundtracks – were there any specific music styles or film soundtracks that inspired the original score for next-gen Tomb Raider?
Troels Folmann: One of my prime targets for the Legend score was to make it sound similar to a feature film soundtrack in terms of compositional and technical quality. One of the problems with conventional “game music” is simply related to the compositional quality. Motion picture tends to invest way more on music and the results are obviously different from games. Why should game music not sound good? Why shouldn’t we compete with the many amazing motion picture scores? The argument is typically that we are different, which is true. Games are different from movies, but I don’t think that means that we should have weaker sounding music in the games. Another argument is that game music should be ground-breaking, creative and innovative. I think that’s great, but the music still needs to sound good. So either way...it all comes down to the quality of the music, so when I mention “feature film music” I refer to the compositional and technical quality of the music. Innovation is great, but it’s got to have that hook into commonly accepted consumer expectations and conventions.

In other words, I am a commercial artist doing commercial art, which means that I have to embrace and innovate conventions and stereotypes. I know many artists that follow their heart and gut feeling, which I highly respect. But dealing with mass consumer scoring is about professionalism and scoring for the masses. I call it "embracing the cliché", which is easier said then done.

Another reason why I am interesting in feature film scores is related to the emotional experience. Ask yourself this question "How often do I have an emotional experience in a movie?” Now ask yourself "How often do I have an emotional experience in a games?”

M4G: What are the main differences between scoring for film and games? Are there any similarities? Does a composer need to play games in order to create a great game soundtrack?
Troels Folmann: Great questions. First of all there is a difference between the predictable and static aspects of movies compared to the unpredictable and dynamical aspects of an interactive experience. Secondly there is a difference in terms of the emotional experience. Movie scores tend to provide a deeper emotional experience, which is partially related to the fact you fully control the story in a movie, but also to the compositional qualities of a motion picture score.

I essentially believe music has the same role in games, which is to be the emotional glue between the player and the game. But it is more difficult to do an emotional game score, since you need to compose in a way that be triggered in real time. This is one of the main reasons why I invented my micro-scoring methodology. Micro-scoring allows scores triggered in real-time as the player progress through the environments.

The next games we are making are going to bring this even further. We now have technologies that allow us to trigger music based on what the player is looking at, which is a huge step forward for us in terms of recreating a real-time generated musical experience. There is no doubt in my mind that game composers should have a deep understanding of the media and play games. This demand is going to increase as we get more demanding in terms of creating custom scores in the game. I'm currently working full-time with sound designers, audio engineers and programmers to make this happen.

M4G: What are the main challenges of next-generation game music?
Troels Folmann: First of all we have to increase the overall quality of game music. I still hear a lot of bleeps and bloops and it hurts my heart every time. The quality of music is also related to the level of emotional content in the music. It is great to have these big, banging, epic tunes. But music can do so much more and we sometimes aim for the lowest co-nominator in game music. However there is also a huge challenge in terms of creating more complex interactive experiences. I personally believe we need to dissect the music into myriads of small pieces that are assembled in real-time in order to recreate a believable interactive experience for the player, but it needs to go hand in hand with the emotional experience, which is extremely difficult.

M4G: Why do you think it has taken developers so long to realize the potential of truly adaptive audio? Is it a lack of commitment and innovation from composers and producers or just a reflection of limited audio engines?
Troels Folmann: What is true adaptive audio? Essentially I believe it is real-time generated music and we are many console generations away from this. There used to be real-time generated midi based music, but the midi sounds were terrible and it just didn’t work right, which is another great argument for the quality of music in games. I would personally prefer to have a great sounding music experience than a bad sounding adaptive midi score. But the real hurdle is the technical constraints. You would need hardcore DSP capabilities beyond anything we have now and many terabytes of source data you could use. Additionally you would need AI music systems that would adapt to player action, interaction and player preference. The next-generation of consoles is not going to bring this to the table. Essentially we get more bandwidth for triggering and pre-buffering audio, but its nothing like a real-time generating system. We have some of the best audio engineers in the world at Crystal Dynamics and the way we overcame the hurdle was to program custom technologies for micro-scoring. We can essentially trigger scores anytime in the game and it is an extremely complex journey that takes composer, audio engineer and audio programmers to collaborate on daily basis.

Essentially the ability to collaborate, communicate, negotiate are such important tools for any professional composer.

M4G: What’s next for Troels Folmann? Any franchise/titles you’d like to score in the future?
Troels Folmann: I am currently working on some unannounced projects, which includes mixtures of full symphonic orchestras and choirs, massive percussion ensembles and electronica. I love scoring Tomb Raider, since it is extremely diverse and compositionally demanding. I would also enjoy scoring a game with highly emotional content, but I am not exactly sure when that game will be out.

Always feel free to enjoy my narcissistic blog at www.deffmute.com or write me a mail. Thank you very much. Best - Troels

Сообщение изменено: ACE (31 October 2006 - 14:07)

[Lockywolf]

чего я не хочу - это второго.

а на остальное - мне все равно

[ACE]

Кто бы сомневался - слушать одни и теже треки, которые кор пихали из 1 части во все части вплоть до 5. Кошмар.
я лично за 2 вариант - выйдет супер.

[Lockywolf]

Я не против новой музыки.

Пусть там останется тема тайтла от первого ТР,
а остальное будет новое.

мне извините, легендарной обработки не хотелось бы.

[ACE]

Я не против новой музыки.

Пусть там останется тема тайтла от первого ТР,
а остальное будет новое.

мне извините, легендарной обработки не хотелось бы.

Это я давно понял

[Lockywolf]

А чего так скептически?

Я не говорю, что музыка легенды плоха.

Просто зачем делать старую музыку в стилистике новой?

Уж лучше новую в стилистике старой(ТР1)
раз уж это ремейк

[ACE]

новую в стилистике старой=старую музыку в стилистике новой

от перемены мест слагаемых сумма не меняется и это 2 вариант, вот так-то

[Lockywolf]

не согласен с вами.

!=

[Каштанка]

2 вариант: старое забывать не надо, но в точности как было - скучно, что-нидь новое тоже лишним не будет.