Star Citizen: Around the Verse – The Music of Squadron 42

Star Citizen: Around the Verse – The Music of Squadron 42

Closed Captioning provided by Sandi Gardiner (SG): Hello, and welcome to
Around the Verse, our look behind the scenes into the development of Star Citizen, and
Squadron 42. Today we’ve got a special guest host, joining
the program, Josh Herman, Character Art Director, and Star of last-weeks Star Citizens Happy
Hour. He’s filling in for Chris, so thank you. Josh Herman (JH): Thank you, it’s my pleasure. These shows are a really unique part of Star
Citizen’s development, so I’m really lucky to be a part of them. SG: Yes they are, and since we have you here,
anything you would like to share from the character art this week? JH: Yeah, this week we actually got through
some of our character modularity system bugs, and it’s going to help us create a lot of
unique and distinct looks, so I think we’ll be showing a little bit about that in an upcoming
AtV episode, so look to that. SG: Very cool, and that would be awesome. For now though, let’s head over to our Frankfurt
office, and Brian Chambers, for this week’s Studio Update. Studio Update Brian Chambers (BC): Hey everyone, I am Brian
Chambers, development director of Foundry 42 Frankfurt. Since our last update the team’s grown by
an additional 6 people, across 5 different disciplines. We’re glad to have them on board, and I’m
sure in the near future you’ll meet some of them. Entire team’s been busy so I’ll give you
a quick update on a few of the disciplines. For the weapons team, they’ve been busy
reworking some of our current weapons from the Klaus & Werner manufacturer. The Gallant, the Arrowhead, and the Arclight
are all getting revamped to have a finer level of detail, as well as prepping them to work
with our future attachment system. The devastator 12 from the Kastak arms manufacturer
is also going through a similar process. In regards to ship weapons, the team’s been
blocking out different type of weapon types, sizes, and upgrade levels for the Knightsbridge
arms manufacturer. The QA team here in Frankfurt works closely
with both the design team and the engine team on the daily basis to support them however
they need. One bit of recent support was validating damage
to players. They used our existing FPS test map to verify
how much damage a player could take on each portion of the body all at different ranges. They used all existing weapons at various
distances, both online and off, and documented all their findings along the way. In the process, we actually found some discrepancies
in the damage taken to players, so we were able to tear those apart and rectify those
for our 2.6 release. The environment team also works closely with
the Engine team on a daily basis to be able to push our visuals for the planetary tech. They made some great progress on some new
procedural moons, making sure they look good not only from an extreme distance but as well
as close up to all the way to the point where you land on them and explore. They also made progress on new varieties of
vegetation. Along with the new varieties, the engineers
have also implemented the functionality so we can now have bending tree trunks and branches
as opposed to previously where we just had leaves that moved. Moving on to VFX, the VFX team also works
with the engineers, and they’ve been recently working with them on some new toolsets for
procedural particles. The tools allow us to spawn particles based
on specific parameters to help the environment feel more dynamic and alive. Parameters including such things as terrain
elevation, angle, specific textures, specific ecosystem, and on and on. We also now have ecosystem based weather particles
that are attached to the camera and procedurally play when you’re inside that specific ecosystem,
as well as the ability to group particles along with specifically procedurally attributed
objects such as trees or rocks. This allows us to add more bespoke detail
to items across the procedurally scattered items, such as leaves falling from trees and
dust blowing off rocks, etc… So. That’s it from Frankfurt, thanks again for
watching, thanks for all the support, and we’ll see you next time. Back to Studio JH: Appreciate the update Brian. And of course, welcome to all our new employees
joining us in Germany, it’s great to have you guys on the team. How cool were those cactuses? SG: Super cool. Cactii JH: Cactii? I don’t know. The ecosystems we’re able to pull together
are getting some more and more incredible stuff, especially now that we’re able to
add the tech and additional animations, as well as some procedural particles. SG: Very cool, and you and your team have
begun working on creatures too right? JH: Yes, we have been concepting some fauna
to go along with the environment team’s flora. I think we showed off some insects sculpts
back in November that I did, but we’ve been expanding there to make our biomes really
diverse and immersive. SG: Another big part of Star Citizen’s immersion
is definitely the music and tech that goes along with it, and we talked before about
some of the dynamic music system and how it applies to the persistent universe. But today we’re going to sit down and talk
about its use in Squadron 42 with composer Geoff Zanelli and lead sound designer Ross
Tregenza. Art & Tech: The Music of Squadron 42 Geoff Zanelli (GZ): I’m Geoff Zanelli, I
thought music was this thing that other people in other cities went and did. Didn’t quite occur to me that it was a career
path that I could embark on until I was a teenager, and soon enough I started realise
that music can take all sorts of shapes and forms that don’t necessarily exist on the
radio – you know as a guitar player, had a band, who were terrible, we were an unsigned
band – we weren’t necessarily looking to go pro with that but I definitely wanted to
be in music and really once I got a guitar, I stopped homework and athletics which- [laughs]-
I don’t know if I’m proud of that but it took me somewhere, right? And I guess, being in a band-kinda format
didn’t quite fit with what I really wanted to do because I was forever going “how could
this be bigger?”, “why does a song always have to be three minutes?”, “why is there
always a verse and a chorus?” – sort of inevitably leads you into music
for media – for film, for television, for video games – where, you know, you have a
lot more- how should I say- options, for the shape of things. So, off I went to college, and at that time
I was really only a musician for three years – I was a three year old musician when I walked
into Berklee College of Music, I was the best guitar player I knew, and then I walked into
a building when I was easily in the very bottom third, [laughs] – all these guys had come
up playing their whole lives which was a good and humbling thing for me but I knew I was
aiming towards composition. So I took a degree in film music and in music
engineering and production. Then when I was writing to try to start a
career, I banged on maybe sixty doors in Los Angeles – or I should actually say- I mailed
a resume to sixty studios in LA while I was still in Boston saying “will work for free”,
hoping to get fifty phone calls back and have the horrible dilemma of picking which studio
will hire me. And it doesn’t work like that – so I learned
that quite quickly, from those sixty resumes, I got one phone call – “well, OK, this is
a long road” – so, but, fortuitously that phone call came from the studio then called
Media Ventures – a studio owned by Hans Zimmer. I came up, and I was an intern, so it really
did come from the absolute bottom rung – I knew nobody in Los Angeles. Nobody in film, nobody in video games, nobody
– and I just never went home after that. They let me in the door and the session would
be over and I’d go into the archives and pull tapes out and listen to them and I just
wanted to be around it. My whole career has really been little steps,
there was never- there was no huge break-through, there were these little steps along the way,
so I was an engineer getting my orchestration education, then I was an assistant to a composer
named John Powell and eventually he would start to ask me “hey, you want to look at
the percussion on this cue”, “you want to write a little tiny piece of music for
one little scene in the movie” and from there, it just blossomed and blossomed. From there I started writing on Hans Zimmer’s
movies and at this point, that’s maybe twenty years ago almost when that started and that
began that working relationship which has become- y’know, it blossomed into something
that I never would had expected – next thing I know I’m working on the Pirates of the
Caribbean franchise – I wrote a lot of music with Hans, so nowadays I have my independent
career. For instance, recently, I just scored the
latest Pirates of the Caribbean movie which is coming out. So that was the culmination of the friendship
and relationship I had with Hans. Lee Banyard (LB): My name is Lee Banyard,
I’m an audio director here at CIG Audio which is located here at Foundry 42 in the
UK. I act as the focal point if you like for all
the audio disciplines, which I guess includes music, sound effects, dialogue and code and
I help to try and unify a creative vision which comes through Chris and then through
me and make sure everyone’s kind of working roughly the same sort of direction. Yeah, try to unify things basically. That’s, that’s currently what I do. That’s my main role here. Ross Tregenza (RT): Hi, I’m Ross Tregenza. I’m Senior Sound Designer here at Foundry
42 working on music systems for Squadron 42. Been working with Geoff Zanelli on the project
over the last year or so. I came to the company, well to backtrack I
started as a musician back in the ’90s and slowly made my way into video games, composed
for the game Timesplitters and become more sort of long term employee there. Eventually ended up at CryTek and then made
the move to this fantastic studio here. And because of my background in music Lee
Banyard, the Audio Director here, has me working on the music systems which has been just phenomenal. The scope of the game and what we can do with
the music is utterly endless, and it’s been very exciting. LB: I work quite closely with Ross on almost
sort of day-to-day basis in helping kind of we pin down exact what musical needs are for
the game, and that includes P.U. as well as S42. And then we take those requirements and then
go to our composers the like of Geoff Zanelli for S42 and Pedro Comacho for P.U., and Ross
does a lot of the implementation like a real kind of detailed ground work where that’s
concerned, but we kind of … we work together just to communicate to the likes of Geoff
or Pedro exactly what we need from a creative standpoint so they … you know provide us
with the actual music, but then we take into the game and try to make that work in an interactive
context. And yeah, we build upon iterate those accordingly. Geoff’s worked, I think, mostly in film and
TV. He has worked in some game context as well
which I think also assists us. Terms of like I guess previous productions
it’s yeah … it’s like, it’s Outlander, likes of Pacific series by, for HBO and Pirates
of the Caribbean is a big one that was done recently. I think he only recently finished up with
that and now he’s got more time to devote to us, so we’re quite happy about that. But it’s, yeah … he’s extremely into what
we are doing. Quite proud of it. They both are, both Pedro and Geoff, so that’s
made it very easy to work with, and he’s got a great line of communication with Chris as
well as us, and makes it really very easy to work with actually. GZ: When the first two Wing Commanders first
came out, let’s see, I was in high school, and that meant if I wasn’t playing my guitar
I was playing Wing Commander. [Laughs] So much so that I probably, I may
even owe an apology to my teachers for not studying hard enough for a time. It was such a … you know … it was such
a great game you couldn’t put it down. The thing is at the time the attention to
detail in that game was, was just so far above like anything else that was out there. You know it was ubiquitous really. If you were a gamer you were playing Wing
Commander, and if you weren’t playing Wing Commander you weren’t a gamer. [Laughs] It was, it was … really was that
big. So I, I met Chris Roberts when he was producing
Outlander, and he had heard my score for Disturbia. I think John Schimmel played it for him. So the two of them and Howard McCain, who’s
the director, called me in to watch the film or watch some scenes of it see if it would
spark you know … inspire me, and it did instantly. I mean you can see it still excites me to
think about that, because see I was … I was raised on these adventure movies and fantasy
and sci-fi and just things that … you know … movies which are larger than life. Those are the movies I remember from my childhood. You know it was easy to get excited about
that and then when Chris and I … you know … went through the process of writing a
film score which is usually over the course of a few months, we got to the end of it feeling
like we had a really good workflow, getting along really well. The relationship was symbiotic, and by the
time Chris was getting going with Star Citizen I think he thought of me as a, as a story
driven or a narrative composer, cause he remembered what I did for, for the story. It was actually quite complicated in Outlander,
so when he started to build the … you know … the world, the story driven, narrative
elements of Squadron 42. For Star Citizen I think it was an easy phone
call for him to make and an easy yes for me to give. Yeah, so I … and I think that’s you know
that’s sort of the reason why that the Squadron 42 component to Star Citizen is in my hands,
cause it’s … it’s something I’ve always done. I’ve been able to use … use the story to
build the architecture of the score for lack of a better term. You know that’s you know for me one of the
fundamental duties of a composer that’s writing anything for a narrative. The very first piece of music I wrote for
Star Citizen was for the Constellation commercial. I should say before I started writing that
you know I looked at the footage and realized that this really is a commercial about exploration. That’s what the ship is for. You know, knowing exploration is an element
of the game and it’s certainly an element of Squadron 42 as well, I set about writing
some music even just for a commercial that could transcend just that usage. I think of it as … it’s exploration music. [Overlayed Music Continues] GZ: It may or may not make an appearance in
Squadron 42 but it was at least designed to be able to do so. For me, the exciting about the commercials
is that they exist in the world of the game, it’s not sort of like this added layer on
top, it’s actually part of what’s immersive about it… about the universe. So then, the first piece of music that I wrote
for Squadron 42 specifically was Bishop’s speech. To me, you know, it wasn’t just a self contained
video or at least I didn’t think of it like that. I thought it as, you know, the catalyst for
a giant plot twist in this huge universe we’re immersed in. So I’m writing a piece of music that’s
really meant to use the speech as a hinge to draw players into this story that we’re
about to give you. So, it’s written in such a way that it actually
applies to other aspects of Squadron 42 we have yet to discover. It’ll be certainly indicative of an approach
to what the music is for the game and, you know, look I think gamers want to feel immersed
in this enormous universe. Implementing the gameplay music, it’s a
dynamic system, that’s much more technically involved then doing a cinematic here but we’re
really looking for ways to be fresh and new with our approach with that. So, for me as a gamer I notice that the standard
way of handling music right now is you have sort of multiple layers of intensity and it
responds sometimes very roughly to what’s happening in the game to the player. So, something more intense happens then it
will just sort of jump to the next level of intensity in the music. So, often it starts out at the beginning or
it becomes a repetitive event, for the gamer and I think it’s repetition in game play
music because you’re going to be playing the game for many hours can be a problem. So one of the things I’m doing is looking
for ways to avoid repetition in the music. Certainly Chris Roberts would share that ambition
and so would Lee Banyard and Ross Tregenza in the UK Audio Department. RT: It’s a dynamic music system that’s
a little more in depth and grand in it’s scope then you get in other games, really
because our game’s so massive. We want a system that responds to the player
but also because Squadron is such a fantastically cinematic game, we want the music to respond
in appropriately cinematic, epic ways. So, it gets fed into by what you do in the
game, things like attacking people, explosions, that kind of stuff. Also it’s situational, it could be if you’re
flying that’s a whole set of music with it’s own rules, that’ll transition seamlessly
into EVA music if you’re floating around or if you’re down in ground combat. Again saying universal system but it handles
what you do sort of elegantly and smoothly moving between these different aspects and
there’s a language that Geoff has defined musically that’s very different. You’re in space, it’s got.. it’s huge
and it’s epic and as you get down to ground without any, you know, it’s seamless but
suddenly you know where you are. It’s got a whole different tone to it, different
feel, it’s more personal and visceral and right there in front of you. So, our real challenge, we’ve been… Sam and I have built this system, but there’s
the system here and that’s a technical consideration but we need to bring Geoff’s unique voice
into that system. GZ: Just in the past few weeks we’ve made
some breakthroughs in the gameplay music. There will be three… main states, for instance
there’s a whole engine for space flight, and this is music that’s now capable of
playing calm moments, you’re just flying into a system or something, and it can break
out into action, it can break into heroic music, or grim music when things go bad, and
it’s all part of one sort of, I want to say, enclosed system of music that plays all
of the space flight in the game, and there’s a similar system for first person, and a similar
system for EVA events. Those are things that, you know, could apply
to the entire game. That’s just a starting point, cause then
it evolved, initially we thought well we need sort of action and not action, but as time
went on we went this is going to be more interesting if there are different levels of intensity
for all of the action, you know, you could be surrounded by 20 bad guys, there might
only be two. So the game is able to respond to those types
of scenarios, it’s also able to know when the player has the upper hand, so it can play
more heroic music. When the player’s in trouble, so it can
be more grim. And it’s all, you know, it’s all dynamic,
it’s all synced very tightly to what’s happening with the player. The challenges of writing that kind of music,
well first off you need to know you’re doing it from the get go. There are sort of tactical reasons why you
have to kind of write the music modularly; sections need to be self contained if you’re
going to do this, so each of those little modules can be worked on as an individual
cell almost of music, because it can come at any time during the player’s experience. So, if you’re halfway through a great big
melody and you have to make a left turn, that’s an abrasive thing to do musically, so we have
to kind of build the music in the dynamic system in a different way than we would in
the cinematic system, so you know, in the dynamic music has to be able to leap just
like that, from one thing to the next, because you never know when the player’s gonna turn
the corner. But what we’re able to do right now with
the engine and even in the state that it currently is, which will only improve, is we’re rapidly
approaching the same decisions that I”d make when I’m scoring a film, but the game
engine is making those decisions based on what’s actually happening with the player. It’s spectacular. RT: So as time’s gone on we’ve hit a couple
problems that have been a real pleasure to figure out that are more on the creative side
of the process. One of the first big ones was the transitions
between segments because this is all modular system. You could be in a looping section of music
that’s covering, what we call it grim. The situations gone bad, everything’s blowing
up so we’re in this grim, heavy action sequence, but then we need to go into a heroic clip
of music, but we need to get there with the transition that isn’t at all jarring. The first thing to do was just, I mean you
have the same tempo and same key, but as the music transitions from one another we just
get this blur and you get elements of one, elements of the other and it just wasn’t
gelling. It took us a long time to figure out how to
resolve it, but in the end we figured out our main focus was musicality over mediacy. So what we’ve done is we’ve locked the
exit and entrance points of the music to key moments. If there’s a crescendo, as you get the top
of the crescendo that’s a moment where it can exit or enter and different segment so
you get these points that you hit and then it’s allowed to enter another piece of music. So we’ve completely negated the need for
a crossfade so it’s pure music. One section of music will drive up into a
crescendo and that lands up the exit of the crescendo of another piece so it’s a beautiful
evolving full, sort of seamless musical journey and we never have these ugly crossfades, there’s
nothing obvious about it which was a real success. Another problem was that we needed to deal
with almost two succinct systems. We’ve got the dynamic music system on one
hand for, that covers your gameplay in this beautiful cinematic way, but then we have
these actual cinematic queues that are pre written bits of music that Geoff’s composed
for very specific moments in the plot and when we land on these, we need to make sure
that we get to them beautifully and we exit elegantly. That’s something that Sam Hall, the coder
over here has worked very hard to get us a system that you know, Geoff can work with
that allows for that. So now we have this amazing system that we
could be in this dynamic music for you’re in space in combat and then we transition
musically into this pre written cinematic queue, but when you exit our game engine has
been listening to what you’ve been doing in the same so maybe during that musical queue
you’ve landed on a planet and everything’s calm, it knows that so when you exit the pre
written queue you come back to the correct music for your new situation which is, it’s
a phenomenal bit of work from Sam, it just works elegantly, it’s lovely. GZ: One of the things I’ve been open to
as a composer is, “The next idea”. Even when I feel like I’ve written something
that I’m happy with, I don’t stop writing and if something else comes up and I want
to explore it, sometimes that pays dividends. I see that all the time in music, I see it
all the time with filmmakers I work with and I certainly see it in Star Citizen as well.. RT: When we first started talking about building
the dynamic music, I’d explain the elements to him but I really didn’t know how deep
he wanted to get into the intricacies of the system, but he loves it and he gets deeply
involved in it and as time’s gone on we’ve met in the middle for both the creative and
the technical. He comes to me everyday with new ideas of
how we can fix problems with musical transitions and you know, whereas a year ago we’d send
over lots of technical information and reference material, it’s become very fluid now and
it’s a real pleasure to work with him in this kind of way. I think he’s got such a phenomenal grasp
of the technicalities of the system, it’s empowering him and it’s just making it better
for everyone, it’s fantastic. GZ: If I have an idea, I can put it out into
the world and they’re are so many brilliant people here that want to live up to every
ambition and it starts with Chris of course, but if I say I think we can make this music
system even more dynamic than anything that’s come before, well the next thing I know, someone
at Star Citizen has come up with a way to make that work within the game engine and
it’s just a tremendous asset and it’s a blessing for me because you know, I feel
I’m part of something that’s really pushing the limits of what a video game can be, what
it can do. Look it’s obviously a blessing I get to
do this for a living. I think from day one when I sent 60 resumes
and got one phone call back I realized, when you get that phone call and somebody says
they want you to do something, write music, be a part of a film, be a part of a video
game, it’s a blessing and you can turn in into a great opportunity and it’s exciting
to be apart of all of it. Outro SG: Geoff has just got so much experience
weaving narrative and narrative together, he’s really taking Squadron 42 to the next
level. JH: Yeah, it’s really impressive how Ross
and the rest of the rest of the Audio team have the tech bridging between those various
emotions so seamlessly. You pry wouldn’t even know what’s happening
if you hadn’t been told. SG: No, you wouldn’t. Right, one minute you’re flying around to
this beautiful score and the next your pulse is racing as the music amps up for a dogfight,
it’s pretty cool. JH: The only problem is I have the Bishop
speech song stuck in my head now. SG: And now I do too, thank you. Thanks. JH: Sorry about that. Speaking of thanks, thanks to all our subscribers. SG: Yes definitely, without all of your we
would not be able to share in depth behind the scenes shows we bring to you weekly so
thank you so much for all of your support. JH: And thank you to all our backers for helping
make the dream of Star Citizen possible. We wouldn’t be able to do this without you. SG: No, we wouldn’t and that is our show
for the week but if you’d like even more Star Citizen, make sure to tune in tomorrow
at noon pacific for the latest Happy Hour stream to watch some live gameplay and discussion. JH: Tomorrow’s stream will be more ship
focused with special guests Elwin Bachiller and Ben Lesnick stopping by to answer questions. Should be a fun one. SG: Until then we will see you… SG/JH: Around the Verse.


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    So far, the music isn't the best point of Star Citizen because she doesn't shape the soul of this game. When you listen, you don't say "yeah it's unique, it's star Citizen !"

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    Michael McAdams

    I think this is very impressive and I sure do appreciate the talent going into this…. BUT I am going to be listening to the Cowboy Bebop soundtrack the whole time playing!

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    Good job! But still missing Ben Lesnick… Is it possible for him to have his own segment, like something with story-time or ship-shape, since he's also responsible for ship designs? He could moderate that segment for example.

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    Jean-Hugues Gilbert

    All this salt.
    Calm down people, music is a really important part of a game, at least for me. And what i seen and listened was utterly awesome.

    Stop complain and be patient. We all know that the game and the solo will be out in early 2018, no need to cry until then.

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    J P

    It's too easy to underappreciate the power a good soundtrack can have on a movie or video game. That video was definitly welcome.
    Amazing how people have become complaining little brats over the last 5 or 6 years, every single little thing is a reason to complain and show some forme of beeing unapreciative. You have a video showing the insight of a game ( well turns out this was't th video you expected the most and so what? ) The guys at Star citizen at least or spewting out videos about everything on their game. Beside the scope of the game which is trully unprecedent in the game industry, we are also experiencing a degree of transparency rarely ever seen around a game.

    I don't mind people complaining, but at least complain for the right reasons… not because the video is talking about music instead of another subject that would have been better for you.

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    That Brian Chambers part was so good, really good audio, info and visuals. Calm, cool and collected bringing us the good stuff. Audio stuff was very interesting and I wish we could listen to more of it.

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    Mike B.

    I know people want to see the part of the game that they're interested in but I don't know why the y have to bash it when CIG shows parts that they aren't interested in. If you don't care about the music, then that's fine, but other people do. Personally I don't give a flying ** about the FPS stuff but I'm don't mind them showing it.

    If all you want is the 4 minute studio update that's totally okay, but don't complain when they indulge other parts of their audience.

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    "We've completely negated the need for a crossfade, so it's pure music."

    That's awesome. Actually, everything about this is awesome.

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    Patrik Figo

    So many people just don't understand how importand music in games is… you know why real life is so boring? Yeah because there's no background music.

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    Anybody noticed the two different KnightsArm's weapon model? We already have the swords series, (wich I imagine is the first model shown), but the second model looks like a gatling or at least some kind of balistic repeater? Any tough?

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    Gabriel Barsali

    This is so f. awesome. Omg
    You guys are amazing. Thank you for all that effort. I'm a proud backer and subscriber. Thank you very much.

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    music along with the sound in game is so important with immersion. we do need the option(s) of controlling the levels of loudness etc… ie the game Watch Dogs 2 you can't control the music volume and it drowns out all other sounds.

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    Classy Platypus

    Thank you for this deeper look into the music system and the Geoff's insights into composition. I've been very interested in the music and sound development of the game and this was an excellent addition to that.

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    The music for the Bishop senate speech was beautifully done and I enjoy watching the ship commercials too. My favs are the Freelancer, Cutlass and Polaris commercials. Can't wait for more Squadron 42 stuff!

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    Music is one of those things that when it's good, no-one will actually notice it, but it's the most important part in creating an atmosphere. Imagine how different Star Wars would have been without music.

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    I rock SoundBlaster X-fi platinum, its the best sound card Ive ever had, when I couple it with my AKG studio grade headphones, it gives just a perfect sound. And the parts of music Ive heard in thiv vid, were really good in all possible ways.

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    Yikes lol These comments about music not being important. This is an immersive MMO and Singer player Cinematic story driven game. It need great music and I'm glad to see the progress! I think these nay-sayers are just a bunch of min-max try-hard glass-half-empty critical boring neck-beards. You can listen to you Led Zepplin or turn off the music, but don't pass this off as unimportant. These people have a lot of talent and it's worth every penny. I for one will have the music turned up during Squadron 42. If I'm PvPing, I turn it down. To each their own.

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    why haven't you showed us any pictures of the new creatures that's a putty but it's cool that you are making them and I hope for pictures soon 😍
    by the way cool music!

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    ode boy

    Ever tried to watch a movie with horrible music or play game with horrible music? It ain't fun to play isn't it? So music does matter. It sets the mood. It can make combat moments so much more epic, a sad moment far sadder and exploring more interesting.

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    Rome wasn't built in one day.Please don't bring attention to those who complain,for they will always find a reason for doing so.In time all those loud shouts will be forgotten,but Star Citizen will remain.

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    less bla bla more music! Music says more then thousand words..?.!.. no seriously, 30min and I thought I can enjoy some minutes of epic music….

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    They need Mike Oldfield and like Peter Gabriel, with Some composers… like the dudes from Wow. These guys are corny. If the music is cool. The game will be more cool.

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    Merchant Ivory

    Its absolutely shameful to see such toxic comments about the dislike of a composer explaining how honoured he is to be writing the music for Star Citizen.

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    The musical cues for the video was amazing. It is absolutely fantastic to be able to efficiently guide the viewer with music and even for this video about music they did just that! Spectacular!

    There are so many comments here that voice disappointment. What is their deal? This is an open development game. Guess what? This is part of the development that they are being open about. I absolutely am intrigued with all of the info they have given about what goes into making all of this game.

    CIG, keep rocking out hard with everything you do. Keep going strong with all of this wonderful content.

    See you in the Verse,

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    Arian Chandler

    Thank you so much for showing us this, I've always loved soundtracks and sound design in video games.

    This was fascinating.

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    So people are eager to learn more stuff of the progress of the game after Xmass and a dissapointing 2016. What do they do? A special about Alien Languages, a special over AI, a special over Pirate Swarm and a special about music. No saying they are not cool or interesting, but is disheartening that they don´t want to show a clerarer picture of the progress of the game.

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    John Joe

    Its your own fault cig…. You didnt showed sq 42 not a Single Mission and thats what The people want. So i can understand the disapointment bcause we dont care about The lifestory of this music composer i mean wtf?????? I pledged alot of $ so see sq 42 Code to life not seine so much bla bla. Sorry but iam tired of waiting

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    Ol' Whiskers

    Enjoyed it thoroughly up until Brian's segment was concluded.  Didn't feel the need for an additional 25 minutes of content solely about music.  Could have been shorter.

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    I know you are doing some new things with the audio for these videos, but please stop over compressing your mix. The voices in this are really hard to listen to. otherwise… GREAT VIDEO! 😀

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    Jackie Ramsey

    I am so happy. You can easily hear the passion in his voice when he speaks about writing music for Star Citizen. Passion the shows in his work as well.

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    If anyone from CIG is reading, just remember most people only comment to complain or moan. Tens of thousands of people who really enjoyed this video aren't writing comments, that's just how it is, but we're here nonetheless. Very interesting video, thanks again!

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    I don't think I could be any more giddy about the music direction. The Pacific had one of those most moving and iconic scores I can remember from any TV series and I think we are all truly blessed to have Zanelli heading up the scoring for Squadron 42.

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    Anti Ceraphim

    The first thing I do in most every game I play? Turn the music all the way off. It'll be nice to be able to leave it on and listen to something different, not the same beat over and over and over…

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    Pascal Michiels

    Loved the Connie commercial and it's music. Saw it for the first time on the big screen at the Gamescon event and just had to get me a Connie after seeing that!

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    Unspecified Specimen

    THEY'RE TAKING MY IDEAS. I SWEAR, I had very similar ideas for the transition system in terms of music for the PU. I don't care that they have two very talented composers already working on this project, I NEED to graduate faster so I can work on the music for this game. Truly career goals.

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    Listening to Ross speaking so passionated about the music system is just awesome. Really looking forward to hear it in action.

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    Heres a question? is there going to be an ingame playlist option? Can I play my own music in the game? Like a custom playlist?

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    Stefan Rickli

    Guys, although I like the background music in AtV, for me it's a tad too loud. I get distracted very easily.
    It also demands more dynamic compression on the voices which I don't like this aggressively. Keep it fluffy 🙂


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    It's funny, cuz of all those games that are over 50GBs and don't offer much content (like, at all, I'm looking at you, CoD. Ffs) I know or atleast, I can be confident I'ma get what I'm looking for in this one. Oi, keep it up, Star Cit Devs!!!!

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    Mike Asterios

    ok, these people really look like they want to create something amazing, I don't cae how long it takes or if it even succeds, but I am ready to support the ambition, i am going to buy the game

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    I made this comment

    This was my favorite ATV yet! As a musician, I'm consciously aware of the mechanics for how tracks change to represent in-game situations. Repetition kills my soul. Yet another reason to be stoked for Star Citizen!

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    I like the "Check Emails!" Postit on the Monitor on 3:29. Im Developer too and had that once too >< nice to see that im not the only one 😀

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