One thing they can do to capture the old feel: The music

#31Kazama JinPosted 6/16/2012 12:35:27 PM
vgundam posted...


Duh. Some of the old games' music was seriously on the level of J.S Bach.

I doubt the bland simplicity of the soundtrack had to do with the use of a large orchestra. I chalk all of it to Araujo having not a single creative bone in his body.

There's been several composers on old games, but everyone usually talks about Michiru Yamane. So I'll just talk about her. Garibaldi Temple alone shows how absolutely far beyond her composing skills are than Oscar Araujo.

http://www.youtube.com/watch?v=uZXQDXDPfdY


Yeah, but I can't help but think that an orchestra trying to play Garibaldi temple at the same time with not just four people, with an entire string section/harpsichordist/flute/etc going on, that it may suffer, unless they really put alot of effort into it.

Garibaldi Temple orchestrated and performed live is very doable for decent musicians, but what I'm saying is, it's way easier to play the LoS stuff. :T The four hands arrangement is good, however, four handed arrangements for harpsichord tend to be naturally messy, unless you are perfectly on time. I think it sounds fine, but somebody not well versed in classical music won't know why it isn't perfectly on time.

I doubt you could record a four handed version of a harpsichord piece for a game soundtrack without fans not knowing how difficult a harpsichord is to time, then asking why the harpsichord track sounds like s***.

Long story short, it's way easier to synth stuff, especially if you have to make 10+ compositions for a game. What I think people should do is perform a few tracks live, which are great creative compositions, then synth the rest if need be. I think there are ways around this problem, I just think the motivation, and creativity of some composers isn't up for the job, clearly it wasn't for LoS1. That or he just likes really really boring music.

And, whoever posted about the effeminate thing, thanks for saying that. I would wonder how much of that got lost in translation about the music being effeminate, or what pieces exactly were that way. I know konami said that about the previous castlevania art style, but the music? I wonder specifically what they were referring to.

And vgundam, I am not one of those michiru yamane crazy fans, I just use her musical examples because people seem to know it. Seriously, I used to have my own piano transcription of 'chandeliers' on youtube, and i also made adjustments to dhsu's clockwork arrangement for piano, just for my own version. Jorge D Fuentes helped out with his midi sheets as well.

Honestly I think Super Castlevania 4 is right on par with SOTN as far as music goes, or just behind it really. I don't think it's quite as good, for me personally, because of SC4's jazz influence. I don't care for alot of the jazz modulations, though they do seem to fit the character of the levels/game. Most of the SC4 soundtrack is awesome though.

J. S. Bach isn't always that simple, either. Try listening to Art of the Fugue, or Fantasy and Fugue in G minor "The Great". Yea, it's still all baroque modulations, but the thematic creativity, especially for music from a conservative period like that, is pretty remarkable. For me to say that means alot also. I can't stand conservative stuff, usually.
#32QuantumWolf(Topic Creator)Posted 6/18/2012 1:08:14 AM
So I hear David Cox has gone on record saying that classic CV tunes will be in this one, in addition to the LOS score.

True?
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#33LordoftheCastlePosted 6/18/2012 11:09:48 AM
^ Yeah, but he also went on the record and said that he personally hated QTEs and they would be kept out of LoS, but look what happened.
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