Research

In order to create a memorable composition, I needed to research into different composers around the Victorian era, as well as current games with a similar theme. Amelia has already given me some examples of the sort of composition she wants, so I will be listening to the examples and creating my own composition based on the examples Amelia has sent me as well as music from composers of the Victorian era.

The first example that Amelia had sent me was a royalty free composition, from a website, called Relent. The track features a Clarinet and a Harp. The track does have a Victorian feel to it, however, I believe it is quite dull and lifeless. Although I would be using a harp in a similar style for my composition, I did not want it to sound dull or boring. I wanted my composition to be memorable.

Amelia also sent me a few links to a YouTube video. The compositions from Amnesia – A Machine for Pigs has a dark feel to it, which is what I wanted to create with my composition. As the game is a horror game, similar to Amnesia – A Machine for Pigs, I would use the soundtrack for inspiration of my piece.

These examples were great inspiration for the opening scene of the game. The composition needs to be dark, intriguing and mysterious.

For the gameplay music, I want to create a piece of music similar to the opening scene but much simpler, with a Cello and violin. As the character is searching the grounds for the key, a timer starts. When there is one minute left on the timer, I want the music to change and become quicker in pace and much more dramatic as the time runs out. I will be increasing the tempo from 60 bpm to 120 bpm, making the last 10 seconds full of tension, so the beat matches the seconds.

For the winning ending, Amelia said in the meeting that she wanted horns to represent the success, but to also end with mystery and intrigue, as the game is not over yet. For this, I looked at victorian composers, especially Johann Strauss. Many of his compositions featured a fanfare, similar to what I wanted to achieve. Homage to Queen Victoria of Great Britain features a fanfare at the start with french horns. I would be using this example for inspiration for my winning ending composition.

For the fail ending sequence, I needed to create something disturbing, without venturing outside the victorian theme. I wanted to keep all the compositions similar in style so I will use a Cello and harp in the fail sequence, but to create a disturbing drone I will use a synth similar to one used in the Amnesia soundtrack.

Other examples of composers I would be using are as follows:

Schubert – ‘Serenade”

Debussy – ‘Prelude to the Afternoon’

After reading A Complete Guide to Game Audio by Aaron Marks, I learnt a few valuable lessons. Such as, it is very important to plan your time when composing music, as it is no good leaving it to the last minute. In order to be at your most creative, it is best to surround yourself with the style of music you are composing.

A couple of years ago, I did a heavy metal score. I like metal but I don’t usually listen to it 24 hours a day. During the project, though, it was a completely different story. I played every heavy metal band I could get my hands on – in the car, in the studio, making breakfast, and eating dinner. I did the same thing with an orchestral project recently. By listening to and living the type of music you are composing, you will be able to pick up on the subtle nuances of the style. This focus will help keep things on track and on theme. (Marks, 2009)

The book also had some great advice on what to do if I am struggling for ideas, or running out of time.

Whenever you happen to be devoid of ideas or need something with an interesting flair or outside your musical abilities, reach for a loop library and see what happens. I don’t know how many times I’ve stared blank faced at my drums begging them for a good groove. When the don’t answer me, out come the loops and usually in a few minutes, new life is injected into the creative process.

Bibliography

Marks, A. (2009) The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers. 2nd ed. Burlington: Focal Press.

As I will be recording dialogue with Ashley Lewis tomorrow, I decided to look up some recording techniques. To gain some insight into the recording process, I read through ‘The Complete Guide to Game Audio’ by Aaron Marks, which David McSherry was kind enough to lend to me. I came across a section regarding dialogue and how to approach it. The section lays out a few questions for consideration.

• “Are you expected to audition and select the voice talent or have they already taken care of that?
• “Do the narratives simply need to be edited or do you need to bring the talent in and record them?
• “Are you expected to write the scripts yourself? (Marks, 2009: 207)

As Amelia had not selected someone to record the voice of Grace, I offered to find someone suitable for the role. I already had in mind a girl who I work with, Ashley Lewis, who has a very ‘Downton Abbey’ style voice. As the game is set in the late 1800′s, which would mean the game is set in the Victorian era, rather than the Georgian era, I felt that Ashley suited the role very well.

I would be recording the dialogue myself, so I needed to arrange for Ashley to come to my house to record in my small studio. I have all the equipment that I need, and after conducting some research on condenser microphones used for recording dialogue, I have just purchased a Rode NT1-A . I have arranged for Ashley to come round tomorrow, the 20th, to record the dialogue.

Amelia has already provided me with the script:

“This isn’t right at all. I must find out why my dear sister has been so silent since she moved away. I’ve had nothing, not a single letter. I know Rosa too well, she would have written to me by now. All I have is this address.  (PAUSE) Oh, it looks as though we’ve arrived. (SHORT PAUSE) Excuse me, Driver? (PAUSE) Driver?”

“W-what happened? The horse…and the driver!”

Before I had even thought about recording the dialogue, I had taken the questions outlined in the book and given them some consideration. Now I just need to research recording techniques and I will be ready for tomorrows recording session.

“Does the main character have a voice like James Earl Jones, low and intense, or is it something on the other end of the range? Instead of having to turn down the volume of the music as an answer, how about building a hole in the frequency spectrum? What the characters and other voices are saying are more important that the background music and a little pre-planning will save you having to redo that slamming bass line competing with Darth Vader’s orders to squash the universe” (Marks, 2009: 208)

This is a very good point and shows why it is important to record dialogue before starting on the music composition. It would be a nightmare having to go back and rewrite the music because it competes and clashes with the dialogue. In this case, there is only one voice which is an advantage.

Recording Techniques

“Dialogue, it can be argued, is perhaps the single most important aspect of video game audio, in that it is often the only element of the audio that a reviewer will mention, and poorly implemented and badly directed dialogue can completely ruin an entire game.” (Gamasutra, 2014)

My aim for recording dialogue is to make the character come alive. I want to make the voices feel natural, I don’t want them to sound like they have been recorded in a studio. So the first thing to think about is where to record the dialogue. It needs to be a good sounding space. As the character will be speaking in a carriage pulled by a horse, I chose a room in my house with wooden flooring which gives the voice a slight reverb effect. The room is not completely dead which gives the voice an open, yet confined sound. The carriage is obviously wooden, with a window situated on either side of the character, so the voice needs to sound like it is almost outdoors. A dead room would be a bad choice of location for the recording as it gives no natural, outdoor effect to the voice.

I will be using a Rode NT1-A microphone connected to an Apogee Duet pre-amp. Both the pre-amp and microphone are easy to use. The microphone has no settings, and the Apogee Duet has a function that allows you to save the settings you use for different microphones and different settings. Jory Prum, dialogue editor for the Walking Dead games, states in an interview that using a mic with no settings for recording is beneficial because if, for any reason, you are required to re-record any dialogue in the future, the recordings would sound exactly the same as they did the first time you recorded them. (The Audio Spotlight, 2013)

One of the best examples of dialogue in a game that really drives the story is from The Broken Sword Games. The dialogue is brilliantly recorded and acted.

Broken Sword The Smoking Mirror:

Bibliography

Marks, A. (2009) The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers. 2nd ed. Burlington: Focal Press.

Gamasutra, 2014, Rob Bridgett – A Holistic Approach to Game Dialogue Production [Online] Available at: http://www.gamasutra.com/view/feature/132566/a_holistic_approach_to_game_.php?print=1 Accessed: 19th February 2014.

The Audio Spotlight, 2013, GRTV – Jory Prum Interview [Online] Available at: http://theaudiospotlight.com/recording-the-dialogue-of-the-walking-dead-game/ Accessed: 19th February 2014.