I sat there with the controller in my hand, jaw on the floor, and just listened. Imagine experiencing a game like Portal and then hearing this song at the end while the credits rolled.
I stayed up all night in college and beat this game in one sitting on the original Orange Box and it was probably the most memorable gaming moment for me. We see it in the Portal End Credits theme, Still Alive (composed by Jonathan Coulton). It’s all over video game music, and you’ll hear it several times throughout this list. I will then add the details and the final production elements to the final picture.The first progression is one of the most common in the whole of Western harmony, especially jazz harmony. In pretty much every other form of media I am creating the music at the same time as filming, so the core of the writing has to be done before I see anything and the director will guide me. With film, I will always score to picture. While it’s always nice to have a lot of creative freedom, it is sometimes very difficult to give clients what they want when they don’t know what that is!ĭo you always get to see the visual aspect of a production before you write or do you sometimes base your idea on a written script or treatment? When directors or producers know the what they are after, that makes my job much easier. When you get called up to do a music piece, what does a brief generally look like? Do you get musical pointers and reference tracks or is it more loose and up to interpretation?īoth. I am working on a film at the moment, where I have used EZkeys MIDI to flesh out the strings backing in a song, as well as the Big Band MIDI, as this was a great way to get a track off the ground in a style I am not used to composing in. I use them when I’m stuck for an idea or as inspiration, but I also use them to flesh out orchestral parts. How do you generally use them in your work? We know you’re a big fan of our EZkeys MIDI packs. It really helps to keep the track count down in bigger projects. It’s great to have so much instrumentation and variety inside just the one plugin, which can then be output on as many channels as you like. Now that it has been available for some time and that you’ve had the chance to utilize it in your day-to-day work, how has your workflow changed and how has it helped you? Your production also features other Toontrack products, most notably the Orchestral Percussion SDX. Finally, I’ll draw in all the automation, before starting on the mix. Then there is a lot of editing, as a lot of orchestral VSTs have a lot of delays associated with their various legato types. Then it’s orchestration, choosing which instruments play what lines. This is the layout – the story – of the piece. Next up is the arrangement, which I will do completely within EZkeys. As there are variations in the melodic MIDI, it’s great to experiment with accompanying melodic lines.
I will work from the centre out, so main melodic section first, intro and outro second. Tell us what the process normally is like for something like this!įirst I listen to the combined patches, to get a sense of the piece. For these pieces, you wrote the tonal compositions using the Epic Themes EZkeys MIDI pack.
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