GunGirl 2
The Making of GunGirl 2 OST: pt. 6
Jul 30th
Mastering, and preparing audio for in-game use is the usually last of the most important steps to preparing a soundtrack. Without the proper polish, even the best music can sound dull, and besides, there certainly has got to be SOME reason people get excited about “remastered” albums.
When I finish putting together a track for a game (or any track, really), I’ve got a well-mixed version that I wouldn’t mind listening to, but I often have to crank up the volume or play with it a little bit to be able to jam rightfully. Additionally, if I sent this track to a game developer, they probably wouldn’t be very happy with how the track looped in the game (assuming it to be used in a looping manner, of course). So how do you fix this? Well, have a listen and follow the jump to learn more!
The Making of GunGirl 2 OST: pt. 5
Jul 19th
Mixing and Mastering is tough. And it’s annoying, too, because you sit down and write all of this really great music, but at the end of the day it can really all go to waste if it doesn’t have that “right sparkle.” And no, I don’t mean over-compressed limit-breaking overdriven mixes are the only way to get a good sound (see what I did there?). Still, nearly every mix can use some sort of sonic adjustment, and this holds true for nearly every type of recording. There’s nothing wrong with being a ‘purist,’ of course – unfortunately, in our age of composition, we are unable to solely rely on our wits, pen, and staff paper. Enter, stage-left, those swanky audio engineers who have a fine-tuned ear and gift for the precision of acoustics beyond our own ears, and beyond our checkbook. So we come to the question, how do we get the same edgy kick from our guitars, the uplifting soar of the strings, and that heroic heart-melting character from our horns?
Well, there have been many great articles on this subject, written by many a more gifted-engineer than myself. I will also confess that I believe true the same as many musicians, that there really is no substitute for someone else doing your masters. I am notorious for picking a sound or thinking something sounds really great that, simply put, sucks. I know I can do better, so that’s why I keep listening to new music, reading up on the subject, and practicing.
So, let’s get on with it shall we?
The Making of GunGirl 2 OST: pt. 4
Jul 14th
Let’s talk Gear, ya know?
But before I do that, I wanted to let everyone know that I’ve got limited edition GunGirl 2 Soundtrack CDs on sale for $8! I’d really mean a lot to me if you’d stop by and pick one up to support future endeavors of mine, or as a “thank you” for reading this blog. It’s got some incredibly sexy artwork by Amanda Appiarius along with a photograph of the team taken by Lauren Walsh.
But, okay, enough of that… let’s get on with it, read on for the equipment I used in creating the GunGirl 2 soundtrack…
The Making of GunGirl 2 OST: pt. 3
Jul 9th
Working with Live Musicians (ya know, the kind that breathe – let’s see your Roland do that!)
Just figuring out the best way to talk about this subject is a problem of infinite complexity, so I’ll be doing the best I can to discuss working with musicians as it applied to the GunGirl 2 soundtrack. While my two personally favorite tracks with live performers are “Anomaly” and “Libera Me,” I’ve decided to talk about “Heartless Abyss” first for it’s pretty straightforward approach and execution.
Libera Me
Jul 5th
I wanted to post a “Making of” tonight but unfortunately I only got about a third of the way through the article. To make up for this, here is the score to Libera Me.
There are some obvious things that have changed between this draft-score and the final version you’ll hear, most importantly being the ending and the range of the voice in certain places. Stephanie is an extremely gifted mezzo-soprano and there was no sense not taking advantage of the superior tessitura.
Enjoy!
The Making of GunGirl 2 OST: pt. 2
Jul 1st
The Making of Anomaly (Violins and Guitars, OH MY!)
Before I start talking about working with live performers, I thought it’d be a good idea to discuss the process behind creating one of my favorite tracks on the soundtrack. I’ve got demos of the piece through various stages of its creation as well. I’ll be listening the gear used and what’s added through each of the three iterations up to the final version. I also spend a LOT of time discussing the live performance elements of this track.
The Making of GunGirl 2 OST: pt. 1
Jun 30th
In the next few days I’d like to talk about the process behind creating the soundtrack for GunGirl 2, which, as always, you can listen to here. Some of the things I’m going to tackle include how to approach a large-scale soundtrack, how to work with a developer/producer on achieving the goals they set out for you, working with live performers, some tools I find invaluable, and how to mix and master your music to get that cutting edge.
I’ll probably post this over a few days, but let’s get started, shall we?
