Music Production for TV and Video Games
Demonstration of the musical Scores for short films and Re-scored game scenes produced for my dissertation. Furthermore, this page includes access to my personal music projects which have been written, performed, recorded, mixed and mastered by myself.
Crash Bandicoot Score Redesign
This project was completed as part of my dissertation for Music Production and Sound Engineering at Point Blank Music School. I decided to cover one of my favourite childhood games, making a hub world track and three tracks for a few of the early stages in the game.
When looking into techniques for Platformers I found an interview with Grant Kirkhope a composer for classic platformers such as ‘Banjo Kazooie’ and ‘Donkey Kong 64’ talking about the importance of motif and melody in soundtracks “Find that little 4 bar motif you can remember” this statement from Grant philosophy steered my creation of motifs that would stick a level in the players head. This idea of a memorable motif inspired my use of a Balafon to create hooks, linking a given level to its music. Furthermore, using this instrument consistently across the tracks leant a consistency to the location in which these levels are set. This creates evaluative conditioning “the process where an emotion is induced by music simply because the stimulus has often been paired with other positive or negative stimuli” (Leamcharaskul, 2017) so if I can make the music sound fun and uplifting the player will associate the gameplay in a similar fashion. These principles help mould the direction of the music, for example the track “Boulders” uses a fast tempo and beating drum to create a feeling of haste. While “Up Stream” has slow violins and a synth section to invoke a meandering feeling in the player.
Tracks
Individual tracks fully mixed and mastered
Opening track in the video sets the tone for the hub area and contextualises the environment for the opening chapter of the game.
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Track for the first level in the video. fast, frantic and high stakes level with an upbeat tempo and aggressive horn stabs and distorted guitar riff.
Up stream is a slow melodic track evoking the gentle feel of a stream. But danger still lurks around every corner and the horn stabs cut through that calming aesthetic.
Up stream is a slow melodic track evoking the gentle feel of a stream. But danger still lurks around every corner and the horn stabs cut through that calming aesthetic.
Resident Evil 2 Remake Score Redesign
This project was completed as part of my dissertation for Music Production and Sound Engineering at Point Blank Music School. Due to my passion for horror and horror music Resident Evil as a franchise was a clear target. Focusing on the opening area I created two tracks grasping at two of the main juxtaposing emotional themes present in horror games. Safety and Tension.
One of the techniques I decided to investigate for my Horror project was Gustavo Santaolalla’s use of guitar on the Last of Us soundtrack. Looking over the material and listening to tracks such as ‘The Choice’ Gustavo focuses on emotive playing. Furthermore, in the Documentary Grounded, Gustavo States why he detunes his guitar “I detuned my guitar so that the strings not only produce sound but noise”. In my project I tuned my guitar down to open G to get Similar undertones to what can be heard across the Last of Us soundtrack. Furthermore, I created one small guitar motif tied to the player character meaning that it can be triggered whenever the character feels scared or unsettled, relaying that emotion back to the player. Another interesting technique I utilised was the Shepard tone. I found this audible illusion fascinating as it creates the feel of ever rising or falling notes by having three octaves of a note play simultaneously, then modulating the volume of the lowest and highest octaves in opposite directions “It’s like a barbers pole of sound”(Haubursin, 2017). I used this in my project as it creates tension while being easily looped making it fantastic for game audio as by its very nature it always sounds as if it is evolving which reduces ear fatigue over time.
Tracks
Individual tracks fully mixed and mastered
Atmospheric track using toy box sounds to emulate a typewriter for the save room, while giving the player restbite. However there is still an undertone of tension and the guitar motif is introduced.
A tense track using a shepard tone continuously descending to invoke the feeling of descending into madness represented in the video. A heartbeat is heard to link the player to this emotion.
Mass Effect Score Redesign
This project was completed as part of my dissertation for Music Production and Sound Engineering at Point Blank Music School. Science fiction as a genre has a very clearly defined musical language. This project explores that language and utilises motifs within to define specific elements of the scene depicted. Two pieces were created. 1 for action, the other a motif piece for the reapers, one of the in-game enemies.
Looking into sci-fi I found lots of inspiration in the work of Michael McCann. The clearest influences in my piece’s are the horn sforzando’s and Taiko drum hits influenced by his work on the soundtrack for Deus Ex, specifically ‘Icurus’. Furthermore, after some research into Jack Walls sci-fi sounds for ‘Mass Effect’ I found an interview with Hans Zimmer and Benjamin Wallfisch on creating the Bladerunner 2049 soundtrack where Wallfisch stated that “We tried to create the intention of a more contemporary sound using 40-year-old technology,” this inspired me to look into the use of the miniMoog as mentioned by Sam Hulick the co-writer for Mass Effect and the cs-80 as famously used by Hans Zimmer. As I didn’t own any emulation of the cs-80 I used layers of kontakts “Ethereal Earth” synth pad to emulate some of the vintage 80s pad textures and frequencies. I also used the mini v from Arturia to create bass and leads for my project. A big contributor to any classic science fiction sound is the use of faders, which have been extensively used here to create slow atmospheric movement in the music.
Tracks
Individual tracks fully mixed and mastered
This is the action track for the planet Eden Prime. Evoking a foreboding atmosphere due to the introduction of the series villain. Using Taiko drums and fast arpeggiated synth chords to build a sci-fi atmosphere.
This track blends Eden Prime’s track with the Reaper theme to create a motif that can be used across many tracks when the reapers appear. Using sustained strings and horn stabs to unsettle the player.
Santa's on the Naughty List Score
This is a short comedy film based at Christmas about Santa going off the wagon. The score for this short was interesting to create as it needed comedic elements but also had to invoke the classic christmas feel. Three songs were made, the first being the main theme for the short. The second a slow plodding track for dialogue and the third is the action track to provide thrills.
Looking at christmas music, many tracks use a big band or even orchestral sound in order to invoke a feeling of tradition. Using string plucks and fast violin riffs provides some of that emotion with bells, Flutes and Horn sforzando’s to build that orchestral atmosphere. The orchestral bouncing from the string section also adds to the comedic sound of the pieces, providing a blissful innocence which is juxtaposed with the dark comedy of the short.
Tracks
Individual tracks fully mixed and mastered
The Theme uses bells and a descending flute line to open the track and secure the christmas feeling with bouncing double bass giving the track a whimsical motif.
Plucking double bass provides a consistent moving feel to be used during dialogue as it's not too busy. While the Flute and bells help keep the festive atmosphere.
The fast tempo combined with violin trills and large horn stabs give the piece a fast frantic nature. While the bells continue to add the Christmas feeling.
The Little Ones Score
This is a short horror film created by Geoff Harmer about cult ritual. The score uses horn swells and synth pads to build a haunting atmosphere. The inspiration behind this score was work by Colin Stetson on Hereditary.
The Teaser does not include my score! When creating these pieces I used the themes of occult ritual and pregnancy. These ides lead to creating tracks with a corrupted innocence, by using piano mixed with distorted strings reversed sections and sound effects such as baby's crying, it produced a feeling of unease and anxiety. Furthermore, I took inspiration from the work done by Colin Stetson on Hereditary With its ethereal soundscapes mixed with loud horn stabs to build up crescendo in the tracks specifically Home.
Tracks
Individual tracks fully mixed and mastered
Opening track in the short created to evoke a feeling of uncomfortable familiarity. This track is a piano piece with quite sound effects taking inspiration from films such as Rosemary's Baby.
This track is used to build up the tension. The piece is heavily inspired by 'Reborn' by Colin Stetson for his score for Hereditary. With Atmospheric strings and horn swells.
A continuation of the theme set in 'The Little Ones' This track however focuses on strings to build up its atmosphere using simpler piano chords.
An unsettling atmospheric piece,. Designed to build tension between the two main characters. It uses a low drone with demonic effects and a heart beat to create anxiety within the listener.
E.SOUL Score
This project was completed by my regular collaborator Nathan Mountain. This is our short film about a less than trustworthy AI Dating App that we wrote in a single day, filmed in a day, and edited within a week, which showcases some of the future issues society may encounter with how rapidly AI is evolving. We even used AI for the big finish at the end of this film, and this is definitely one you want to watch a few more times to catch all of the little details included.
The score for this was focused on an orchestral upbeat melody. this evokes a feeling of joy excitement and even optimism as the to characters kindle a new romance. However, as the ulterior motive of the short begins to show the score become artificial dissonant and unsettling. As if something is invading the track, which echos the events within the short itself.
Tracks
Individual tracks fully mixed and mastered
This is the more bopping upbeat orchestral piece heard throughout the short. it focuses on a double bass and violin call and response style structure. Ending with a minor synth section to unease the viewer.
This track is an electronic song I produced under my alias Lunatox. it blends vocal chaps of myself as well as a classic big beat style drum beat inspired by artists such as Chemical Brothers.
I'll See You in My Dreams Score
This project was a very short film written, directed and scored by myself. It is a peace on self identity and image, as well as psychosis. It holds on a single shot as it subtly shifts from a calming night scene to an unsettling and unfamiliar situation.
This score was a sample of a song from the 1920's. It is intentionally slowed down and manipulated to create an off set feeling of both nostalgia and dread. Mimicking ideas of fading memory and loss of self identity, as reflected in albums like "Everywhere at the End of Time" by the Caretaker.
Tracks
Individual tracks fully mixed and mastered
This is a dark foreboding piece, designed to unsettle the watcher. using a sampled and slowed version of Isham Johns (1924) track I'll See You in My Dreams, then layered under a long atonal drown.