Video Game Music!! 195Demos (Mock-Ups)
!!Available orchestral
samples are of such high
quality that it is sometimes
difficult to determine that a
real orchestra did not re-
cord a cue. The unique feel
provided by live musicians
and conductors’ interpreta-
tions of the music is miss-
ing when samples are used.
For instance, although myr-
iad string bowing samples
are available, it is cumber-
some to smoothly emulate
the various techniques used
by live string players. The
same is true of other sam-
pled sections of the orches-
tra, such as full string sec-
tions, woodwinds, French
horns, and so on.All cues are eventually performed on
samplers and synthesizers as a musical
demonstration. After the score has been
approved, the parts will be performed
either completely or partially by live
musicians or remain synthesized. Since all
cues must be heard prior to the final
recording, there is a logistical problem
that must be solved.Most game music is
complex, and the sampled instruments should
sound real.Composers make a substantial
investment purchasing not only studio
equipment but also sound libraries. Some
composers own multiple samplers, such
as Giga Studio or virtual samplers, to ease
the time it takes to search for proper
sounds. Because strings players use multi-
ple bowing techniques, one sampler
might be loaded with staccato violins,
arco violins, pizzicato celli, and various
dynamic ranges, such as p (piano), f
(forte), and so on. Another sampler might
contain brass with various dynamic mark-
ings and a variety of effects, such as muted trumpets (with a choice of vari-
ous mutes, such as harmon mute, cup mute, and so on), French horns
playing portamento, sliding trombones, and other effects. The third sam-
pler may be loaded with woodwinds and percussion. There are many vari-
ations of each instrument, making it is time consuming to continually
view libraries in order to find preferred sounds. In addition to the use of
samples, synthesizers are usually combined with real orchestral samples.
Time Constraints
Many film composers are required to write and record scores in eight
weeks and sometimes less. Because of the complexities of creating games,
the final music might not be recorded for a year. As a game develops, so
does the score. Composers are asked to compose new music for new situa-
tions that occur as a game develops. They may work for several months
and then wait a month until receiving new instructions to write additional
music. It is a very long and arduous creative process.
As with commercials, composers must not be enticed to plagiarize