00:00Peggy 18
00:58Peggy 18
01:03Music is a very important part of Kingdom Come Deliverance.
01:06There is going to be a lot of music.
01:07Live medieval folk, hours of adaptive orchestra music that seamlessly adjust to how you play,
01:12and one and a half hours of symphonic orchestra, which was one of our Kickstarter stretch goals.
01:16At the beginning, I wanted something that would correspond with the historical setting of the game.
01:21Something that would sound a little bit melancholic and archaic, with strong melodies,
01:26more Williams than Zimmer,
01:28and I also wanted to achieve the distinctive bohemian mood of famous Czech classical composers like Smetana and Dvořák,
01:34or the awesome Czech new wave movies called composers of the 60s like Liška or Fischer.
01:40Because that's the sound of my childhood.
01:45In our game, we have in-game tracks of orchestral music, we have chamber music performed by period instruments,
01:53we have a small men's choir, and there's going to be live recorded cutscenes with a big symphony orchestra.
02:00And what you need is to incorporate all these types of music into one homogeneous soundtrack.
02:06For making of the in-game music, we always started with a design meeting, just the two of us.
02:14Yeah, for hours we will be talking about different features of our music,
02:18and how different parts should link to each other, and how they should be structured.
02:22After we came up with such a design, I usually composed some demo music, on which we tested that feature.
02:31But, of course, I also sent it to Daniel as a simple music track, asking him whether he likes it
02:38or not.
02:45Of course, many games have adaptive music, it's a standard thing to have these days in the industry.
02:50You have different parts of the music responding to different events in the game.
02:55And we have been focusing on having nice transitions between those parts of music.
02:59Our goal is to maintain the natural flow of rhythm, harmonies and melodic phrases.
03:04Our exploration music is organized a bit like a railway system.
03:07Every now and then, along the track, there is a switch, or a branch, by means of which it is
03:12possible to go seamlessly from the track we currently play,
03:15to the one we need, because the location changed, or the situation changed.
03:20At this point, we were leaving the village, and we entered the open landscape.
03:25And now, let's hear how we would get from there on the ground.
03:38For action music, we have a different approach.
03:41The transition to combat needs to be much faster.
03:44So, we start with the sound of the suspended cymbal to build up the tension.
03:49And then we schedule the beginning of the combat music at the first beat of the next bar.
03:53We have different music for fist fight, different music for armed combat.
03:57And, of course, the playback reflects the state of the combat, especially whether the player is winning or losing.
04:24For exploration music, we have a simpler rule.
04:28The more ancient the location, the more ancient the music.
04:33For example, nature looks rather timeless.
04:37So, there we can dare quite a modern symphonic soundtrack.
04:43On the other hand, if you happen to be in the monastery,
04:48you really feel kind of stuck in the old times there.
04:52And, therefore, there is no orchestra, no other instruments, just a small man's choir,
04:59singing a simple Gregorian chant, just as the monks would do.
05:29So, what you see behind me is the Dwožák Hall of perhaps Rudolfidum, which is also called
05:34House of the Artists.
05:35It's a wonderful building, which was built somewhere in the end of the 19th century.
05:40And, we are recording here because, according to me, this is the best concert hall in the world.
05:44And, so far, we have finished the first session, which lasts for four hours.
05:49We have made some music.
05:50We have still a lot of things to do, but I have to say, so far, my impression is really
05:55very good
05:56because the musicians are excellent and they have a wonderful attitude.
05:59They just want to give it, and I want to give it too.
06:03So, I think it will be really wonderful recording.
06:15So, when I was coming here today, I was quite nervous because, so far, I've heard only two types of
06:19music.
06:20Either one that was very well produced, but entirely from samples that we used in alphas, betas and trailers,
06:27and it sounded pretty well.
06:28So, I kind of doubt it if this is worth it because it's very expensive and a lot of work.
06:35And the other type of music was the music for the cutscenes that I only heard on spotting sessions with
06:41Jan.
06:43It was done in MIDI, which was totally shitty quality because we didn't have time to produce it better.
06:47And when I was listening to it, I was sometimes like, oops, I just hope that it's going to be
06:52sounding well when it's played by orchestra,
06:55because now it's kind of weird.
06:57And I have to say that I'm totally blown away.
07:02It's definitely much better than samples.
07:05And the stuff that sounded a little bit weird in MIDI is now awesome.
07:14If everything else will fail, I guess like the game is going to suck and everything,
07:19we at least will have great music.
07:21This is the quality in which we played it for Dan during our spotting sessions.
07:28It's just general MIDI.
07:34And now comes the real stuff from Rolfinum.
07:51And now comes the music.
07:57We are on stage, we can do a full of music today.
07:58It's great for you to sing with us, we are on stage, we will not have the music.
07:58To see if we play it for the music today.
07:58And you can do a little bit of music.
07:58I think that it's a great sport of music.
07:58And you can when you play it in for the music today.
07:59And you'll be playing.
08:00And we're playing the music.
08:01And you can do a lot of music.
08:01And you can do it again on stage.
08:03Then you can do it on stage.
08:07And I'm playing the music tonight.
08:38Autore dei sovrapposti
08:49Autore dei sovrapposti
Commenti