Amra a Ă©crit:Lennertz a fait le score du prochain Bond (quantum of solace). Quand on sait que son prĂ©cĂ©dent (from russia with love) Ă©tait capable de rivaliser avec Barry (et voire mieux que du Arnold), on peut espĂ©rer qq chose de sympa.
Amra a Ă©crit:LĂ , tout de suite non. Je l'ai effectivement remarquĂ©e dans la dĂ©mo... Et je n'ai pas vu de crĂ©dits... faudra que je me la refasse!
Brothers In Arms: Hellâ€™s Highway Music Team Credits:
Music composed and orchestrated by Ed Lima and Duncan Watt
Music performed and recorded by FILMharmonic Orchestra and Choir Prague
Conductor - Adam Klemens
Choir Master - Stanislav Mistr
Sound Engineer - Jan Kotzmann
Assistant Engineer - Cenda Kotzmann
Music Contractor and Recording Manager - Petr Pycha
Mastering Engineer - George Geurin at D.E.S. Mastering
Soundtrack Producers - David Eddings, Ed Lima and PJ Putnam
Soundtrack Executive Producers - Randy Pitchford, Brian Martel, and Stephen Bahl.
The original score for Hellâ€™s Highway was co-composed by Gearbox Audio Director/Composer Ed Lima (previously Audio Director at Human Head Studios for Prey and Lead Composer/Sound Designer at ID Software for Doom 3) along with composer Duncan Watt (Stargate Online TCG, Pirates CSG Online).
The music was recorded by the FILMharmonic Orchestra and Choir in September 2007 at Dvorak Hall, Rudolfinum in Prague. The FILMharmonic Orchestra has recorded numerous AAA game scores including: Halo Wars, Too Human, Warhammer Online, Gothic 3, Untold Legends: Dark Kingdom, Dark Messiah, EverQuest II, S.T.A.L.K.E.R. and Splinter Cell.
For the Hellâ€™s Highway sessions Gearbox employed around 70 orchestral players and 32 singers, recording about 30 minutes of music in total. â€śThat isnâ€™t much compared to other games,â€ť admits Gearbox Software Audio Director/Composer Ed Lima, â€śBut we donâ€™t do in-game music in the Brothers in Arms series. We only use music during a number of cut-scenes, menus, etc.â€ť He outlines the reasoning behind this approach in the liner notes from the forthcoming Hellâ€™s Highway soundtrack release.
â€śThe Brothers In Arms series of video games has always taken upon itself the responsibility to treat our nation's heroes and history with all the respect and honor they are due. It's an imperative that permeates every facet of Gearbox Software's development of this series.
Composing music that must be at once both familiar and altogether new for this third chapter of the award-winning saga was a welcome challenge. I decided to explore some of the farther reaches of the instrumental palette in Hell's Highway, introducing the piano as a featured melodic instrument to represent the character of Matt Baker. Additionally, male voices came to represent valor and camaraderie, while female voices symbolized Baker's sense of responsibility for the wellbeing of his men as it weighs more and more upon him throughout the course of the story. The horrors of war are represented by the sounds of the glass harmonica, an instrument so eerie- sounding it was once thought to be the creation of the Devil himself.
Duncan Watt and I co-wrote the music over several months in the spring and summer of 2007. As in the previous Brothers In Arms games, no music would be conspicuously featured during gameplay. Though common in other games, this scoring technique tends to glamorize violence and desensitize the player to the happenings onscreen. This was precisely not our goal as composers. We chose instead to underscore the relationships that exist between these brave men, highlighting their connections, their trust in each other, their disagreements, and for some, their tragic ends. We chose to illustrate how much it pains Baker to deliver some truly terrible news to his best friend, Red Hartsock. We chose to reinforce Baker's growing pain and regret as men die under his command. We chose to drive home the terrible sense of loss as young Frankie pays the ultimate price for allowing his heart to govern his brain.
As a composer, the opportunity to work with such deeply powerful and emotional storytelling is a rare treat indeed. That we can honor our brave fallen in this uniquely entertaining and compelling manner is rarer still.
Co-composer Duncan Watt discusses the musical style for Hellâ€™s Highway, â€śBecause of the way the Hell's Highway score works in the game, we could use melody as a way to forward the storyline as well as provide emotional underpinning.
To evoke the feeling of place and moment in certain scenes, we ended up doing some research into the music of the time. For example, at the time, Eindhoven had a strong musical community, combining elements of European classical music, traditional Dutch folk music and even American jazz-radio.
The historical accuracy of the Hell's Highway story, combined with recording in a city so closely tied to the war (and so recently liberated itself) created some interesting parallels. One scene called for a small group of musicians to play as if they were in an impromptu parade, celebrating their town's liberation, just joyous and happy and excited. Thinking that some of these musicians, either through their own or their parents' experience, knew all too well exactly what that emotion meant - and knowing we were recording not so far away from where the actual events we were describing happened, was pretty emotional.
Duncan Watt also commented on the writing and recording experience: â€śWorking with Ed and everyone at Gearbox on the score was an amazing experience. At one point early on, Ed passed along a few piano sketches, and I remember thinking "man, it's already all here"... you could have put the sketches right into the game as is.
It was great having some freedom over the instrumentation of the orchestra and choir. We took advantage of this early on, and scored for quite an amount of solo playing, rather than simply dropping ensemble beds.
The musicians in Prague were wonderful. One short cue called for solo alto flute, the musician's playing literally silenced everyone in the control room - I don't know what moved him so much at that moment, but he'd turned a simple little line into something absolutely breathtaking.
We asked the singers to really stretch their range at times, singing everything from very tight, dissonant tone clusters to bawdy, rowdy song, even having the men's group humming 3- and 4-part harmonies, not an easy thing to do.
I'm very, very proud of the work Ed and I did on the Hell's Highway score, and I just can't wait for everyone to hear it.
Gearbox Software will release the Brothers in Arms: Hellâ€™s Highway soundtrack album via Sumthing Else Music Works, to hit stores simultaneously with the gameâ€™s release, currently scheduled for late September. Gearbox and Sumthing will also release remastered versions of the scores to Brothers in Arms: Road to Hill 30 and Brothers in Arms: Earned in Blood.
Sam Lowry a Ă©crit:Et puis Ă§a fait du bien de ne pas entendre une musique de jeu video qui ne soit pas un copier/coller du style Giacchino (que j'adore par ailleurs) ou Lennertz.
Rorschach a Ă©crit:De mon cĂ´tĂ©, je ne dĂ©croche plus de Mercenaries depuis que je l'ai dĂ©couvert il y a loooongtemps de Ă§a.
BigJ. a Ă©crit:Quelqu'un peut-il m'en dire plus sur le CD lui-mĂŞme et les autres compositeurs?
BigJ. a Ă©crit:Je peux citer l'article sur mon site? (... avec souces, of course.)
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