00:01I always say that music is the fourth dimension
00:05It is the emotional dimension
00:09And so in order to create this
00:12You have to ask these questions
00:14Where are you going?
00:16You know, what's your motivation?
00:18What is your story?
00:20What is really pushing us?
00:23This is what really drove me more than anything else
00:29These huge questions, they're as big as space
00:49Everything I've worked on at this studio
00:51The music started very early on
00:53As early as the concept art for the game
00:56From when I began here in 2005
00:59At that time, Oblivion was already well, well underway
01:01But as we went on to Fallout 3 after that
01:04That was one of the first things I worked on music-wise
01:07Was the main theme
01:07And that's always been the case
01:09Where the main theme sets the tone
01:11For everything else we do in the game
01:14And there's time throughout the entire project
01:16For that to evolve
01:17And that's true
01:18And I remember like during the Fallout 4 visit
01:22Which was actually in 2012
01:24I was wandering through the corridors
01:27And I basically stumbled into the artist's room
01:31And it was the first time I actually saw them do what they're doing
01:35I was captivated
01:37I was like, wow, I mean, this is really what it is all about
01:43And I felt so inspired and motivated
01:46Basically to go back
01:48And, you know, to do the same thing with the palette of music
01:51The biggest challenge is actually creating the signature
01:57I relax a lot once
01:59Once we feel good about the main theme
02:01Because the rest is going to
02:02It'll be work in iteration
02:04But it's going to write itself
02:07The way I looked at Starfield always
02:10Is what I called the sanctified triplet
02:13Which is everything is streaming, right?
02:18Everything is changing
02:20And everything is returning back
02:22Ta-da, ta-da
02:25Here is your development
02:27And then ta-da
02:29And back
02:31So basically it presents itself
02:33It develops, it goes back
02:35Circular
02:36Exactly
02:37Some sort of like a circular journey
02:40You go out, you venture, discover, return
02:43Yes, there's always the strive to go back home
02:47And that's, I mean, I guess
02:49That's what feels so complete for us, right?
02:53We want to complete the mission
02:55We want to complete our journey
02:59We will find something
03:01We will discover something
03:03We'll take it with us
03:05And we will go back home with it
03:08When we built the traditional orchestral sound palette
03:14We actually really divided the orchestral group
03:17For example, took the woodwinds, okay?
03:20And we created like a whole woodwind layer
03:25That almost represents particle in space
03:29Because they don't play melodies at all
03:32They play sort of like a high frequency sequence
03:35Ta-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da
03:37-da-da-da-da-da-da-da-da
03:37You know, like together
03:38quindi non suonano come woodwind, suonano qualcosa di organica e di sintetica.
03:46Quindi i suoi strumenti,
03:47suonano queste lunghe chords
03:50o lunghe melodie
03:52e lunghe crescendos e diminuendos
03:55e questi tipi di linea con le fast-moving woodwind
03:59creano una buona blanquita
04:02around queste waves.
04:05E poi viene la brasse
04:06e la brasse, specialmente le franghorns,
04:09è giocato come la becon,
04:12la coal della brasse.
04:17In questi gruppi,
04:18a volte quando si guarda il tema del tema,
04:22sono salivati pensando,
04:23cosa faccio con questo?
04:26Non solo per usare il tema del tema
04:28in più,
04:30ma anche per altri punti del tema,
04:30per creare nuovi spiegelati.
04:32Could we use that as straight up sound design to take those woodwind tremolos and just, let's slow them way
04:38down, let's reverse them.
04:39I'll take any of that music and turn it into ambience somewhere.
04:47The music is like the companion. It's the companion to the player in the single player game.
04:51We don't have control over how the player chooses to experience the game.
04:55Our sense of scale had to be totally readjusted in making a game on a planetary surface as we've always
04:59done before.
04:59And now where you have these very vast distances against this black starry background.
05:06It is a blank canvas and a massive playground and all the pieces are there for you to write your
05:11own story.
05:12Whether you jump right in and you wish to follow the main quest, the main story and go to the
05:17obvious.
05:18One point leads to another, leads to another.
05:20The music has a funny way of playing the right chord change at the right time.
05:25And a lot of that just happens at random.
05:26You look over the valley at just the right moment and that just happens to be when this one chord
05:30change happens.
05:31And there are times like that that feel scripted and they're not.
05:35And I like that each player has that experience for themselves, personally.
05:41I believe that the game is a whole experience and music is part of the whole experience.
05:51I believe that the best music in a game is a music that you don't hear, music that you feel.
05:59This is something that is bigger than us.
06:02I mean, so many people worked on this game.
06:06And so my wish is that specifically the music will be present in a way that is going to magnify
06:16the entire experience.
06:25To be continued...
06:30Grazie a tutti.
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