Happy Halloween (to those who subscribe to the holiday)! We’ve shared some of our personal favorites over the past weeks and years and now we want to hear some of your own. Truly terrifying or playfully macabre. Squirming out of ancient PC sound hardware or freshly
released deceased. Or anywhere in between.
Share some of your favorite spooky game music in the comments below and if you need a little inspiration here are a few of our recent and popular Halloween themed features:
The Beep Movie was officially released on September 30, 2016. I’ve watched the film, which is just short of two hours and a wonderful examination of the history of sound in video games. This includes a look at how music and sound design evolved from the penny arcade era to the modern era of gaming today.
Although I been writing for Original Sound Version for close to two years I still consider myself a bit of a N00b when it comes to game audio. Most of my game audio experiences have come from playing games, and listening to soundtracks. Until now, I did not have a decent understanding of the behind the scenes of the game audio world and Beep pulls back the curtain for its viewers. Read on to hear my full review of the film and the Blu-ray release.
Last month, Original Sound Version partnered up with the Dwelling of Duels game music competition and Impact Soundworks at MAGFest Labs to debut “Opposing Bloodlines“; a video game music competition specifically for established game music cover bands, be they instrumental, chiptune, acapella or otherwise. The competition was a success with one of the prizes for the winner being a feature on OSV!
The grand winner of the competition was a one-man band out of southern Maryland known as WASD. Who and what is WASD?
Earlier this week, we had the opportunity to catch up with everyone’s favorite Irish musical duo. Okay, maybe not everyone’s favorite … there are probably loads of Irish musical duos out there. But if we narrow it down to Irish VGM duos, it might be safer to say that Chris Geehan and Dan Byrne-McCullough of HyperDuck SoundWorks top the category.
In the past few years, their work on Dust: An Elysian Tail and Penny Arcade’s On The Rain-Slick Precipice Of Darkness 4 have defined their sound and given them a strong fanbase. In the following interview, we get set for what’s to come, as well as how you can win a free digital version of the upcoming Cosmic Star Heroine OST when it arrives (digitally, via Bandcamp) on December 7th of this year. (more…)
If there’s a genre of music I don’t hear often enough in games, it’s the blues. A few titles come to mind that have borrowed the style for a single level or licensed a blues song for a cutscene but very few go all the way with their soundtracks. Even fewer big budget titles these days would dare reach beyond the safety of orchestral bombast that has become the norm. That’s what makes Mafia III (Expanded Game Score) extra special. It comes from a mainstream AAA title in a series whose orchestral soundtracks were already well regarded, bucking the trend of what even fans may be expecting. It’s also an exceptionally listenable album with highs and lows to accompany the drama and action but with a graceful, consistent feel overall.
Pixeljams Volume 2 comes to us just under four years after the original album and features many of the same artists from Pixeljam and their circle of friends. While Volume 1 was simply a collection of “new and used tracks”, Volume 2 has a more focused goal in mind. As Pixeljam co-founder and musician Miles Tillmann puts it, “we’re looking to express how games have influenced our sound aesthetic… music inspired by the technology behind game development, you could say.”
That translates into an album of bouncy electronic tunes and wafting soundscapes that echo retro consoles and PCs without simply sounding like typical chiptune. With a roster of seven artists (providing solo songs and collaborations) the 10-track album is diverse but maintains a few consistent sounds that work well throughout. Click inside to find out more about this array of new pixeljams.
Austin Wintory has done it again. That’s it, review over. That’s all you need to hear right? Well at this point when it comes to video games scores you know that Austin Wintory is going to provide an exceptional score. Abzu is 505 games next game following the critically acclaimed Journey, which Austin Wintory also scored.
I took time to listen to the soundtrack to Abzu and was swept away by it’s beautiful melody and reoccurring theme. So come read about my thoughts on the album and why thoughts of ballet sprung to my mind with this soundtrack.
Last week we reported on the release of the soundtrack to Obduction a new game from Cyan Worlds, the creators of the original classic games Myst and Riven. Robyn Miller composed the music for Obduction and he graciously took the time to talk to Original Sound Version about composing the score.
In our interview Robyn Miller provides insight on how he became a part of the project, his approach to scoring the game, and his favorite tracks on the album. He also answers a question I’ve had for years about the Cyan introduction music. Read on for our extensive interview and listen to tracks from the score that formed part of our discussion.
With Nintendo announcing its planned November 11, 2016, release of the Classic NES with 30 games last week I was hit with a flurry of video game audio flashbacks. Learning that the new mini Nintendo could not have any additional games added to it, I thought about some of the games I still had in my NES collection that I wish were included.
So in this edition of Game Soundtracks For Your Soul I’m looking back at a few NES games that had some incredible soundtracks. Come on in to relive some of my personal favorite NES game scores which include music to robots, soldiers, and space animals.
The Unravel soundtrack has been out since June 24, 2016, and since that time I’ve listened to it a least half a dozen times. The soundtrack runs just short of two hours and listening to it that much has been easy. I’ve listened on my walks, while writing, and even on Sunday afternoons with the dog sleeping peacefully to it’s melodies.
The music was composed by Frida Johansson and Henrik Oja and recorded with a small group of musicians in a small Swedish studio called Second Home. Although I have not played Unravel, its soundtrack has a lot to offer. Read on to hear more of my thoughts of the music.
In the world of game audio there’s often a need for the sounds of the earlier game consoles. Whether this is to help emulate a feeling of nostalgia of the 80s and 90s or to create all new styles of music with the older sounds, the tones of these classic consoles have had a persistent presence in the gaming world. This has been especially true with the rise of the indie game scene and the emphasis on the styles of the 8-bit and 16-bit eras.
Through the years there have been a number of software tools available to composers and audio designers for recreating these sounds. Programs like FamiTracker and Little Sound DJ have allowed composers to generate chiptune music, but they require considerable time to learn the various functions and limitations of the software. Meanwhile different FM synthesizers can be used to create sounds similar to the Sega Genesis, but often didn’t have the same limitations or imperfections of the sounds that you would hear on the original system hardware.
Now after many years of planning and development, Impact Soundworks, in collaboration with OverClocked Remix, has come forward with a collection of samples recorded from the systems themselves. The result is the sample library Super Audio Cart, which aims to provide a simple way of producing the authentic sounds of these consoles, while also presenting tools to let you do some new and complex things with the available instruments. I’ll be taking a look at the core functions of the library and examining how it stacks up against other methods of creating these sounds. (more…)
During last year’s PAX East I got to preview an action rhythm game from indie studio Drool called Thumper. Since then the game has made the rounds at many other expos, conventions, and festivals. Along the way it’s earned numerous awards and praise for the two man development team of Brian Gibson and Marc Flury. This year the game was back at PAX East with the new feature of VR added to the experience. Since I enjoyed the previous demos of the game, I was excited to test it this latest virtual reality build. (more…)