00:02To be able to get in on the ground level of a process of literally building worlds
00:07was really intoxicating. And so I was like, what better way to start than with Bungie?
00:15Unlike maybe more traditional story-driven games, I think we were really kind of challenged with,
00:19hey, what is our kind of star in this? And how do we kind of base our audio approach or
00:24musical
00:24approach? And I think one thing we kind of landed on was we're really telling the story of Taos
00:28study the planet. You know, the history that it has, there is no central protagonist, you
00:36know, where we can kind of say, like, this is the hero's theme. Our hero is the world.
00:52I love that feeling of, like, it being both neon and also, like, kind of crusty
00:58and falling apart at the same time. Like, to me, that has a sound.
01:08Something that was really inspiring about the concept of the game was that you relinquish
01:13your human body for a runner shell. You hold on to your soul. You take you with you, but
01:21you leave your body behind. I thought, what better way than to, like, take the human voice,
01:26which is, like, the soul of your person, and transform it into these playable instruments.
01:34These, like, these little recitations. It's almost like they're a code, like some sort of transmission,
01:42you know? It's like what's left over. It's like what's left over from this colony that's disappeared.
01:49I was inspired by these natural environments full of, like, bugs that are half-mechanical
01:54and have escaped from the lab, or, like, you know, things that create, kind of, creaks and whispers.
02:02You know, you can hear.
02:05One of the things that I did early on was this piano that's behind me is prepared with all kinds
02:11of crazy stuff
02:12stuffed inside of it. The primary way that I modify the piano is just with poster tack, like, poster putty.
02:18And depending on where you put it, um, on the instrument, uh, you can get different, uh, colors or muted.
02:29Sounds crazy.
02:33Starting from, uh, an instrument that's totally acoustic, lots of mechanical distortion, human performance, microphones,
02:40sounds, and it proved to be an essential resource, that instrument, uh, felt like a really fun place to start
02:47when designing a very high-tech score, you know?
02:52This I use a lot in a section of the score for the game.
02:55You can hear that sort of fluttering instrument.
02:58One of my most valuable tools was actually this instrument here.
03:02It's called an Osmos, and it's a, it's an MPE controller, so, basically, it enables you to do
03:09a huge number of expressive things with your fingers that even a piano, like, you can't do.
03:17This is so responsive to touch, to motion,
03:24that you can present musical ideas that are not really accessible any other way.
03:30I'm just, like, looking for the emotion in every little thing.
03:33And I think, ultimately, that's what it is, you know?
03:36It's like I'm painting with feelings.
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