#Fallout 4 battle music how to#

The only difference is that I'm not locked to a picture-I can just write music and be inspired by where you are and not really respond to everything that happens or will happen. So, the score has to follow that, and I think the score for Fallout 4 might as well be playing behind a movie. They are basically cinematic adventures gaming can be an interactive cinematic medium. Games can be very cinematic these days, and they are attracting and demanding a cinematic feel from the score, as well. Many people differentiate between music for film and music for games, but in the last ten years they have really not been that different.

You've worked on film scores in the past, so how do you approach working on a game's score, in comparison to one for a movie? How have you seen games become more cinematic over the course of your career? The score and the soundtrack need to work to help you grow into the story. What I will say is that it's important for everything to feel part of the world. They were in the back of my mind, but not prominently. So, I could definitely imagine these songs while composing the score. It almost doesn't matter what song it is, there's a sense of the technique they used to record them. These songs from the 1950s have their own very particular sound. I actually didn't know them well, but I knew the sound of them. I know you didn't work on selecting the game's licensed songs, but were you familiar with the tracks on the in-game radio stations when you started composing? So, in some ways, it is a totally different approach. It's got much warmer sounds, more humane sounds, more intimate sounds. Fallout 4 is cultivating more of a human aspect. Fallout 3's score was colder, more mechanical, and it enhanced more of the raw sort of elements. The music has to make some kind of connection, not only because of the brand, but also because of the situation in the game and the way it is evolving. That's the connection, so even though it's a different hero, he or she is struggling with familiar problems in different ways. Basically, where we're coming from and where we're going are very different things in each game, but the reality is that we're still struggling though the huge aftermath of a global holocaust. The situation is not the same, but there are a lot of connecting lines between Fallout 3 and Fallout 4. How tied in are you with branding, and connecting the two stories? There are certainly similarities to Fallout 3 in terms of how the game feels and sounds.

I basically pinched the strings and did things to them, so that you would know these sounds were coming from a piano, but not really from where, exactly. I took a grand piano and, instead of just playing it, I hit it with open hand on the strings on different parts of the piano. For example, I took a guitar and bowed it in a weird way. It all came from the fact that we needed to play instruments in a way that wasn't necessarily traditional and then we needed to take some weird day-to-day tools, like a garden chair or oil jack from my backyard, and play them like they were real instruments.

#Fallout 4 battle music how to#

How did you figure out how to make that connection? There's something both familiar and totally alien about both the world and the score. It has to grow from the background noises and enhance them as well. So, the music needs to help sort of by describing what's going on there. The Fallout story is reminiscent of the past, but it's also a world that has evolved and developed in ways that are really hard to imagine. My job is to build an organic, acoustic world.

Inon Zur: I started by looking for the thematic material that would be the basis of the soundscape. VICE: How do you begin the process of creating the score for a game like Fallout 4?