The April subscriber Reverse the ‘Verse is finally here! Check out The Relay’s transcript of the show. The end of the month has arrived which means subscribers get their once a month ‘Reverse the ‘Verse...
The April subscriber Reverse the ‘Verse is finally here! Check out The Relay’s transcript of the show.
The end of the month has arrived which means subscribers get their once a month ‘Reverse the ‘Verse where subscribers get the privilege to ask the questions for the show. The special guests on this show will be the audio side of Star Citizen! Featuring multiple members of the audio team from various departments and Pedro Camacho who is the composer for Star Citizen and is responsible for most of the music you hear in game. While the stream is happening we will record the events as they happen using a blog. Afterwards you can check out what was said in our standard transcript format below, enjoy!
Transcript by CanadianSyrup & Stormy Winters.
TLDR(Too Long;Didn’t Read)
Today featured two people from the audio side of Star Citizen: Pedro Camacho, Composer of music for Star Citizen and Ross Tregenza, Senior Sound Designer in Foundry 42 UK
Pedro Camacho is well known within the community for his inspiring scores and passion for Star Citizen. He finished up two Orchestral recordings recently and is finalizing the official Star Citizen soundtrack.
Ross Tregenza is heavily involved with the music side of Star Citizen and is responsible for the dynamic music system in Star Citizen. He also helps Pedro in anyway he can with the production of his music and attends some of his orchestra recordings.
They plan for Star Citizens music to cover the entirety of the universe and change based off location and what’s happening around the player at that moment. Alien areas will sound different than humans and they hope players will know where they are based off of the music alone to give them a sense of familiarity. They also say as the universe expands, so will the music and as such expect new tracks to appear as the game grows larger in the future.
The idea of radio stations in the game for music is one they’ve thought of, but they’re more focused on making sure the music flows properly in the areas they have it in and be something memorable since Star Citizen is larger, they have an opportunity to be creative with how music will be heard in the universe.
Ross Tregenza is the one who made the Big Benny’s music and after the initial response, made a full length track which will be released soon.
We’re live! I see Disco Lando, Pedro Camacho, and Ross Tregenza!
Different Format this time around, just the three of them synced up over Skype in a tri-box format.
Doing introductions, Pedro Camacho is the main composer for the Star Citizen soundtrack and Ross Tregenza is the Senior Sound Designer in Foundry 42 UK and mainly focuses on the music logic for the game and how it changes while you play.
Ross started from doing small tracks for some games and ended up getting involved with Star Citizen after hearing about it.
Pedro talks about how amazing it is to be a part of the Star Citizen project. It’s a team effort to compose the music and enjoys working with the various people in his department on the project
The start of music for Star Citizen starts with an orchestra and at first with some basic tracks to get a feel for the theme and collecting feedback. At first some of the tracks weren’t as well received by some fans, but Chris loved the potential and the music has grown into what we love now today.
Ross talks about implementing the midi orchestration. You can easily just throw it in, but it’s bland where as Ross focuses on taking pieces and breaking it up so it creates a dynamic effect that scales based off of what you’re doing in the game.
Pedro does take what Ross does to his music into account when writing it and has felt that the hardest part of composing is behind them as they have so much content to draw from and inspiration for the project.
They’ve done two recordings recently and Pedro talks a bit about what it’s like to record an orchestra.
Pedro had done it years ago, but it had been a long time since he did it for Star Citizen. The first time he did the Arena Commander track he felt so moved by it. The musicians felt passionate when playing as well, he could tell they felt what he felt.
Pedo loves all of the scores, but some come out better than others and have more of an effect on him.
Ross tells about how talented some of the musicians are that are in the orchestra and how they play by simply sight reading after going through it a couple times. It doesn’t take long for them to get started and going through the scores even though they’re fresh to them.
Pedro had a chance to play a church organ with a Star Citizen track and really wants to be able to incorporate it someday into the music somehow.
They’re currently trying to play the early rendition of the Arena Commander track.
It’s Glorious.. You can definitely tell the difference and the raw power of the Orchestra coming out of it.
The sound of the Horns with passion and the melody of the Violins with the Flutes encapsulates what Pedro talked about and how it moved him.
The elegant sound of the Clarinets and Flutes in the slow part is methodical and moving.
You can feel the build up of the music over time and how it’s written like a story someone experience’s in game with the highs, lows and ending with a triumphant ending.
Pedro is very humble about the comments he recieves and only tries to make his music even better.
Disco could tell the difference between the new and old.
Ross says it’s all about Pedro, he just supports him in any way he can.
They had a world class mixer during a recording and the results of those recordings were incredible.
Lee Banyard who isn’t here today was also responsible for Arena Commander and how it sounded. Pedro felt the performance was great, but it lacked Percussion and asked Lee if he could record a new orchestra with a full Percussion after the main recording and Lee said yes and it turned out that Lee’s decision was a great call.
Ross talks about the difference between a real orchestra and midi orchestra. The biggest difference is the human element and that can create a challenge when trying to mix the tracks in a different order because they have to be precise or “machined” as Ross describes it. Pedro’s pieces are written to be enjoyed as one long continuous track so it’s a matter of fine tuning it to get the conditions just right.
It’s question time!
[Statement] We love you Pedro
[Can you give us an idea of how many tracks will be in SC and SQ42?] In the game there will be quite a lot because it will be dynamic and not static. As the Universe expands the music expands as well so it never stops. For the soundtrack itself, Pedro feels it should be a selection of tracks that can be put on a CD and enjoyed that work together and also music that you would hear in game rather than outside the game.
[Will human areas and Alien areas have different background music] That’s the plan. There will be a system in place that takes into account where you go will affect what music is played dynamic so that you’ll know where you are without seeing anything as you’ll recognize the particular music that that area has.
[Will Pedro bombs make it into 2.4?] Yes, definitely.
[When will SQ42 music make it into Star Citizen?] It’ll arrive soon, but it’s a matter of picking the right moments to introduce it.
[Will Pedro be at Citizen Con?] I hope so! The important thing Pedro wants to remind folks is he loves the support and everything he does, but he’s not the “Rockstar” type and doesn’t like to “tour”.
[Do you consider subspace in explosions and other things?] Ross: Yes, everyone loves to hear a good rumble, but they have to do it very carefully and add just the right amount. They’re adding a system that help balance that out intelligently.
[Will we get the launcher music back?] Yes! It was an innocent bystander during the new launcher’s change.
[Is this Pedros first crowdfunded project?] It’s both Ross and Pedro’s. They really enjoy the fact that they can be completely open and talk about the various aspects of development. For Pedro it’s a little hard at times because there’s a lot of good listeners and it challenges Pedro to make the music right because when he did a score and it was a little sloppy he said, the backers let him know it didn’t sound right.
[What is the state of sound occlusion? (Sounds behind walls)] It’s tricky.. the base CryEngine Occlusion is a bit weak so it has to be configured. They’re working on it, but it’ll take time to ensure it’s done right.
[Will the music in the PU be switchable like a radio station to different Genres of music] It’s not something they haven’t considered, but at the moment what’s important to start to learn how people play the game and how to incorporate music in a way that you can enjoy it rather than it being there for the sake of it.
[Will the music in the Soundtracks be compressed or uncompressed] They will be, but they’ve worked very hard to keep the dynamic range and not compromise.
[Pedro, what VTS do you use for your work?] The VTS is the content library. It depends, what’s important is you have to use the samples within their limits and not put them in an area where they aren’t meant to be. It’s important to get the Orchestra to the best result to mix with.
[What’s headphones do you use Pedro?] AKG’s. He’s always used them, he doesn’t know why, he just likes him. He says what’s important is to use a neutral set and memorize what “That” sounds like and when you use something else to understand the difference. Back then it mattered more with sound cards, but today you can get away with cheaper stuff, but at least professional level is recommended.
[Any plans for 2946 pop rock style music?] Sure! After the inital response from the Big Benny’s music, Ross felt inspired to work on that track more and made a full length track of it.
[What living composers inspire or influence you?] He has a couple classical ones like Steve Rye. His own Composing teacher, made him cry quite a bit listening to his work. John Williams, of course, is that big rock for him. Hans Zimmer is just great as well, he has something no other composer has and created a new style in music with the way he makes orchestras sound like rock in a way.
They’re at the end of the show and Pedro has a little surprise for everyone. He has a theme they’ve worked on and Lee Banyard said he should finish it, it’s good stuff and could be used when visiting a planet for a first time. So this track is called “My Planet” by Pedro Camacho. This is only a 30 second snippet.
Beautiful melody.. Imagine the scene from Jurassic park when they see the field of Dinosaurs for the first time. The music gives you that sense of “Awestruck”.
Pedro was super excited when he saw the trailer for pupil to planet and only has access to the same stuff we do so he has no special access.
Lee Banyard wanted to be here today, but felt ill just before.
Pedro loves to work with the Foundry 42 team. He feels because of them his music improved in some way. Everyone he’s met has been amazing and he’s very passionate about Star Citizen.
That’s the end of the Subscriber Edition for April. The soundtrack is in production, there’s no ETA yet. They also still need Big Benny’s footage so send it in!
A polite Canadian who takes pride in making other peoples day brighter. He enjoys waffles with Maplesyrup, making delicious puns and striving for perfection in screaming at the T.V. during hockey games.