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As history has told us the first commercially successful video game was of course PONG, with it’s simple concept and limited sound (beep, beep, beep as the white square hit the bat). At this point I will point out soundtrack my personal favorite soundtracks from every game I’ve played over the years (and I’ve played a few) but here 5 of my favorite gaming soundtracks that I remember quite VIVIDLY! This is one of them instances when you imagine almost every track you grew up with was in this game and you would just listen to the radio stations for hours because it was that damn good.
Well more the entire Max Payne Series because music within this game was well balanced from the first game combine with the narration of James McCaffery. This is just the comic strip from the first game is what you play this game for but the simple piece you listen to while the narrator speaks is what makes this game special to me.
This SNES classic is what reintroduced me to my first love (ROCK MUSIC) with 5 LICENSED tracks within the races makes this a good experience in which I played with great enjoyment (even on emulator) just playing this just gives me a good feeling inside because I enjoy just listening to it (the megadrive added one more track with radar love but the chip tunes were inferior compared to the SNES version but still wasn’t that bad). Of course, the convergence of music and gaming remains a story that’s dear to our hearts here.
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British composer James Hannigan has been responsible for the soundtracks of many high profile video games including Harry Potter, Command and Conquer, Lord of the Rings, Warhammer and the more recent Dead Space 3 and Transformers Universe.
James´ workload has also increased this Summer as, alongside acclaimed game audio director and composer John Broomhall, he has created a brand new one-day event dedicated to the art of composing for video games and has invited some famous friends along to help him out. Initially, you may get asked to pitch, which usually means creating some examples for the game which are then assessed for their suitability.
Some of the time, Audio Directors or others working on the project will temp the game with music from existing soundtracks if they like a particular style or direction, but at other times you may get to decide where to take the music, stylistically speaking. Often you´ll get to see art from the game, videos or linear sequences, usually referred to as cutscenes or cinematics, and these can give you a greater idea of the look and feel of the game, and hopefully a way into the story - if there is one - and you pretty much score these as you would a piece of television or film. Quite often, when working on a particular section, you get to see video of gameplay, which is footage of someone actually playing the game, and that can help you formulate an approach to the music and to test it out in context.
You work your way through the cues, adapting to changes as you go, and then you eventually arrive at a time when you need to deliver final versions of tracks for the game.
The challenge, I find, is in finding a balance between the linear nature of music to picture as it is generally understood by most people (i.e.
Some time ago I got together with my friend John Broomhall, who is a composer and well-known games industry commentator, and we started talking about the possibility of creating our own event focusing on music for games. Our inaugural event offers a great general introduction to the process of scoring music for games for those unfamiliar with the whole process or wanting to find out more, and features some of the global games industry’s most established and active composers, audio directors and music managers. Anyone with an interest in music for games wanting to hear some of the industry’s top composers, audio directors and music managers in conversation, talking about how they work on major franchises and approach their day to day work could benefit from attending. It just sounds great, both musically and sonically, which is what you’d expect from Spectrasonics. As a partner of the Game Music Connect event we are excited to offer customers an exclusive ticket discount which could save you up to £50! His interpretation of the game while enjoying it throughly is one reason why it’s on my wishlist alone with TB first impressions. You may be able to create synthetic music, but it is nowhere near as beautiful as a real instrument. His latest work is launched this week in the form of the soundtrack for RuneScape 3 - a  free-to-play video game that holds the Guiness World Record as the most popular free MMORPG (Massively multiplayer online role-playing game) in the world. But I also quite like the way the music in Freelancer worked in the game, and the same goes for Republic: The Revolution, a relatively obscure title, which I think helped give the game a unique feel and identity. After you get on board, things usually begin with a discussion about what the game needs and what it is hoped music will add to the overall experience.

You may get to see storyboards and read about the game´s characters as well but, again, all this depends on the nature of the game in question. If you want to get your hands dirty, there are ways of actually putting your music in the game directly using certain tools, but the majority of freelance composers seem to stay out of this process, which is more likely to be handled by those working in-house. We subsequently decided that we wanted to deliver one offering an insight into how games are scored and to look at both the aesthetic and technical side of making music for the medium, getting away a little from industry jargon and the feel of an industry-only event in general. These days, in the majority of cases, you are required to mock up orchestral music in considerable detail before you can get it approved for recording live. Music is more pronounced with the sound design team going all out here, Giving you an experience that anybody would enjoy.
If you can go back and remake a game this would be it (it was remake into Motor Rock and was promptly shut down by Blizzard, To me this is really a case of Blizzard should be rethinking about coming up with a REAL sequel for Rock N Roll Racing.
This is a really fun part in making the music, because it is so different from the rest of the recording. Make sure you're really familiar with your software, read the Readme or watch a How-to video. For TV and film, music is entirely pre-composed and written to picture, often with a built-in narrative. That isn’t to say those from the games industry are unwelcome, of course, and Game Music Connect is aiming to be as inclusive as possible. The good is that production quality is raised in general by the availability of all these great tools and libraries, and that means that, on the face of it, there’s more seemingly good music being created and in circulation than there once was.
I remember my first arcade with music, it was pac-man  with it’s intro to the start of the level.
I never get tired of this classic because it holds up even today as one of the best open world games out there (San Andreas had similar in terms of soundtrack) but this one is a blinder because it’s all music I like a lot. This is movie style story telling at it’s best and add a decent sound with solid game mechanics and you are onto a winner here. I have grown up from gaming humble beginnings till now, from a gamers stand point from basic chip tunes to the full on compositions of set pieces with games having a full soundtrack rather than a repeated tune in an endless loop. Of course, if you are using real instruments, you will need to record it, but some music software lets you create music as well as edit it.
If you want realistic sound effects, there's no other way around it: you'll have to get out and do exactly what you are creating the sound effect for.
That´s one of the key differences we want to highlight and talk about at Game Music Connect. The filtering and effects applied are always very musical, sitting well in tracks with the minimum of fuss. But as time went by more games had sound and stage music (I remember games like Double Dragon and Ghost N Goblins which had good stage tracks, even if it was repetitive). The control you have over the sets, individual samples, layers and so on make this tool invaluable, either when looking for a groove out of the box or when getting your hands dirty creating your own. But with each generation of gaming, comes an evolution in terms of sound design with most games having a full soundtrack that could rival any blockbuster movie. But one that seems to get overlooked by many; particularly those who assume the process of scoring games and films are more or less that same. The most famous piece of gaming music for a home system is the immortal Super Mario Bros on the Nintendo Entertainment System (which still holds up today).
I love music and I’ve experienced a lot of brilliant music within games over the years (even the piano tunes within minecraft are brilliant and simple because it makes the experience more enjoyable). Well with some solid tracks like Wizball on the C64 which was well known more as a sound rather than music but there were little sound bytes that just made the game for me personally. The future for music in gaming is very bright because all the influences being brought it to add something to a game (whether it’s atmosphere, pace or just a distraction for a few minutes helps all round artists get noticed).

Then you had games like Rambo on the commodore C64 with its chip tune rendition of the Rambo theme when was awesome but couldn’t cover up how short the game actually was quite short (approximately 5 minutes of game play from start to completion). All I got to do really is sit back and enjoy listening to everything I play on my games list.
The Nes Batted first with Super Mario Bros and MegaMan (which had level stage music which hold up even today).
When designing games, the teams designs and builds the engine and mechanics of the game then add the sound and music assets later. I’m a firm believer of movie like games (in terms of story, Not FMV which sucked balls just look at Night Trap, which was just a case of timing and trapping the vampires like cretures).
This is the mid to late 80’s where games and music were starting to coincide with each other. Like a movie, a soundtrack creates an atmosphere which either makes you continue playing or has you scratching your head, wondering why is there music for no reason (creative decisions is a strange creature and can be either hit or miss. Music in gaming has gone from simple bleeps and sounds to full blown orchestral pieces which could rival any Stat War movie and licensed music by bands, artists and even DJ’s.
Since my childhood, I’ve seen and heard (from the perspective of the end user rather than a industry insider) all the changes to the industry in terms of games that have been produced.
Tune were more detailed (during this period you had FMV games like Night Trap and Sewer Shark). If George Lucas was a game developer (he wasn’t a developer, it was a director of Lucasarts). He’d try and create games that had a narrative with sublime music and cool voice acting. As the 90’s drew on Games in music with the invention of the Sony Playstation painted the view of games with music to come.
Even independent game developers are creating  music as well as the engines for their games.
Starting off the scene with ridge racer and Wipeout (which had trippy trance and house music). Anyways, it time to set the way back machine to the beginning of sound and later music in gaming from Pong to todays major triple A titles.
PC games were also evolving with CD and with games like the 7th Guest and Full Throttle and Wing Commander 3 heart of the tiger, Pushing production to a more movie style of game with musical scores to boot.
Games had voice acting, Music and good sound direction (perfect example of sound direct was the original DOOM, which had your character having to listen hard for monster in the dark).
This was the start of things to come with the way games were presented to the world with the big companies (like EA Batheasta, even THQ when they were in business). Rolling on in the late 90, Konami has utilized the full capacity with it’s like Snatcher (on the  SEGA CD) and Metal Gear Solid (on the playstation) this is when Storytelling and gameplay combine with real decent voice acting (decent for the time because it was the first game to have an extended voice and soundtrack. This was the first atmospheric game for me that had music that I remember playing with friends and set my future in terms of games I played. Rockstar has included all sorts of music including classic tracks on the time period (like GTA Vice City a personal favorite of mine) but since the mid 2000’s Games started to hit Hollywood production costs with major publishers making multiple departments for art, sound and music and game design. The balance is really hard to produce however from humble beginnings to modern day gaming, As A gamer, You got to admit, sound design has come a long way from just no music to full music compositions with actual orchestral pieces within a immersive experience to anybody who plays said games.

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