Tag Archives: Video Game Soundtrack

A look back at 2017 – My Year in Music

A list of all the music stuff I was involved in for 2017:

・I composed 26 tracks for an upcoming RPG called A Story of the End – Revere: Episode Dream, of which I’ve only shared three publicly. I’m really excited about all of this music!

A Story of the End – Revere: Episode Dream

・I arranged and produced my first track for a Materia Collective album, “Tavern” from ZODIAC: Final Fantasy Tactics Remixed, working with three amazing musicians who recorded live parts for me (Ian Martyn on whistle, Lori Syngajewski on clarinet, and Sam Bobinski on upright bass).

“Tavern” from ZODIAC: Final Fantasy Tactics Remixed

・I also contributed to two tracks on another Materia Collective album, SPIRA: Music from Final Fantasy X – Besaid Mix: as an English to Japanese translator for song lyrics on Reven’s beautiful track “Welcome to Luca”.

“Welcome to Luca”

And as mix engineer on Connor Boyd’s awesome track, “Stranger Seymour”.

“Stranger Seymour”

・It’s not due out until early 2018, but I arranged and produced another track for an upcoming Materia Collective release; for this one I was fortunate enough to work with nine different musicians who all recorded live parts for me (I’ll tag you all when the album drops, but you know who you are).

・I composed and released my fourth and fifth original game soundtracks (Room 42 and YOMOTSU). YOMOTSU being my first soundtrack that wasn’t self-published, but put out by a label.

Room 42 Original Soundtrack

YOMOTSU Original Game Soundtrack

・Speaking of YOMOTSU: the game won first place in this year’s Indie Game Maker Contest!

IGMC2017 Results

・I had the great honor of composing a demo track for Gothic Instruments (Dronar Live Strings), Sampleso (Floppytron), and three for Impact Soundworks (Ventus Pan Flutes, MOMENTUM, and Ventus Ocarinas).

・I participated in, and successfully completed, Video Game Music Academy’s 21 Days of VGM challenge.

・Despite being super busy with music for actual projects, I arranged two pieces by Yasunori Mitsuda just for fun, “Eternal Soul” from Tsugunai, and “Bonds of Sea and Fire” from Xenogears.

・Outside of soundtracks stuff, I also composed two original works just for fun, “The Commoners Square” and “The Place We Called Home”.

・I surpassed 35,000 plays on my Soundcloud!

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ikenie now on Steam!

ikenie has just officially launched on Steam!

ikenie is a 2D action-adventure/puzzle game for PC featuring challenging gameplay, unique mechanics, multiple endings, seven Steam achievements and an original soundtrack composed by yours truly!

Grab the game on Steam now for $4.99.
http://store.steampowered.com/app/511120

You can also pick up the ikenie Original Soundtrack for only $2 from my Bandcamp page. (URL below)

https://chrisportermusic.bandcamp.com/…/ikenie-original-sou…

Thank you to everyone who has supported us. Releasing a game on Steam is a really big moment for us and we’re excited that you’ll finally be able to play the game. Enjoy!

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“Why is the Princess in a Magic Forest?!” and “ikenie” have been Greenlit!

HUGE NEWS! Both Why is the Princess in a Magic Forest?! and ikenie have just been Greenlit on Steam! We are in the process now of finalizing the games to get them ready to be purchased and played. I want to thank everyone for their support throughout this process (which was excruciatingly long – but, hey, that’s the life of small indie teams, I guess). Since ikenie has been on sale on itch.io for a while now, the ikenie Original Soundtrack has already been available on Bandcamp, but now I’ll finally be able to release the Why is the Princess in a Magic Forest?!  Original Soundtrack as well. As readers of this blog will know, that was the very first game soundtrack that I composed. The fact that the game and the soundtrack are finally about to be released is such a huge moment for me. It’s the culmination of a lot of hard work and love for composing music. I feel like I’ve grown a lot as a composer since I wrote the six pieces of music on that soundtrack, but they remain special to me since it was the first time I actually wrote music that was to be used in an actual video game. I really hope you enjoy both of these games and their music!

Ikenie and Magic Forest Greenlit

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Interview in AJET Connect magazine!

I’m excited to announce that I was interviewed in this month’s special art issue of AJET Connect Magazine. The interview starts on page 22!

AJET Connect Magazine

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“Why is the Princess in a Magic Forest?!” is on Steam Greenlight!

A couple of weeks ago, the very first game that I wrote the soundtrack for (I started working on it in the summer of 2013) is finally up on Steam Greenlight. About three years in the making, the game is 95% complete and we’re finally ready to show it to the world. After an awesome showing at Tokyo Game Show 2015, it’s exciting to get the game out there to the rest of you.

We need ‘YES’ votes on Steam Greenlight in order for the game to be made available for purchase on Steam. So, if you’re reading this, we’d really appreciate if you could check out the game’s page and give us a vote. The link to the game’s page is below.

“Why is the Princess in a Magic Forest?!” on Steam Greenlight

The soundtrack to the game is also available now for pre-order on Bandcamp. I will release the soundtrack as soon as the game is available for sale, so the release date is just a place holder. It could be sooner or later than what is written depending on how quickly the game gets Greenlit. If you pre-order the soundtrack, you’ll get an immediate download of “The Forest Edge” to hold you over.

“Why is the Princess in a Magic Forest?!” Original Soundtrack

 

 

Lastly, the first review for the game is out. The winner of the Golden Reviewer Award in last year’s Indie Game Maker Contest, Jtrev23, played an early release version and posted a review on his site. Check it out!

Jtrev23’s review of “Why is the Princess in a Magic Forest?!”

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Flying Cavemen: Play an alpha build and hear my music!

As you know, I’ve been working on a number of game soundtracks over the past two years. All of them are still in development, so until now I haven’t been able to publicly share any of the games or their music. However, I’ve recently started working on a game called “Flying Cavemen” and the developers (Deeep Games) encouraged me to share the BGM track I wrote for the game and get feedback. I’m FINALLY sharing some actual game music with you all!

The story goes: “One day a caveman looks up at a flying dinosaur in the sky and becomes curious about flight. The caveman constructs a catapult in order to discover the secrets of flight.”

The goal of the game is to launch your cavemen from the catapult and get as much distance as you can, flapping your arms and collecting powerups to increase your stamina to continue flapping. The game is in a pre-Alpha stage with placeholder art, but the core gameplay mechanics are starting to shape up. The music itself is also just a demo and I will extend it for the final game. 🙂

PLAY THE GAME HERE! It’s a very early version, but the core gameplay is starting to take shape. You can play it right in your browser. Just wait for the page to load.

http://deeepgames.com/games/cavemen/

If you’d like, you can listen to the track below, but I encourage you to check out the alpha build of the game via the link above so you can play it and hear the music in context. Any feedback is appreciated. Thank you!

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Three tracks for new game done!

As I mentioned in my previous post, I’ve started working on a new game (hereafter referred to as “Project SMR”). While I won’t be able to share the tracks with you as I’m writing and completing them, I’d like to update the blog as I progress nonetheless.

I currently working on the character themes for the character select screen. Each character’s theme is vastly different from the next, so it’s been a good exercise in versatility for me. I’m writing in styles I generally don’t write in and it’s been a fun challenge for me. I’m also learning more about my software and plugins, since mixing with instruments I’m not as familiar with requires a different approach than I’m used to. I generally will “complete” a mix, and move on to the next track. After I complete that track, I realize that the mix is vastly better than the previous track’s mix, so I have to go back and bring that track up to par with the new one. It’s kind of a time-consuming cycle, but I’m learning more as I go, and eventually I’ll get it right the first time and won’t have to backtrack…hopefully.

I’ve finished three themes so far will start the next one this weekend.

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“Why is the Princess in a Magic Forest?!” Part 3

(This is part 3. Please read parts 1 and 2 first.)

Between finishing the previous rewrite with the new strings and now, I had purchased brand new woodwind, brass, and orchestral percussion instruments. If you listen to the soundtrack to “Magic Forest”, you’ll notice an obvious heavy emphasis on woodwinds in the score. However, brass and percussion also feature quite prominently. Brass is the most important element in “The Boogeyman” theme. Tonal percussion (especially the glockenspiel and timpani) appear throughout, and non-tonal percussion is everywhere as well. I fought with the idea of doing yet another rewrite using these new, beautiful sounding instruments. In the end, I really couldn’t not do it.

I went back in to each of the tracks one last time, and started swapping out the old woodwind parts for my newly acquired woodwinds, brass, and percussion.

These new instruments are very realistic sounding and have many articulations. It was not as simple “swap A for B and call it a day” type of thing. Not only did I have to choose which articulations worked best for the performance, I also started noticing various parts in the composition itself that didn’t sound very good to me. The realism of these new instruments began to expose parts of my composition that didn’t actually work very well. The old instruments’ low quality must have sort of masked the “mistakes”. I actually ended up rewriting quite a few of the woodwinds’ parts, and am very happy that I did so. These new versions sound so much better.

With new instruments comes a new necessity to remix the whole piece again. So, one last time, I went back into the audio and applied new EQ, compression, etc. etc. I’m really happy with how everything is sounding now, and, looking back at the previous version(s) of these tracks, I can’t believe that I was going to happily release them as they were.

The final step to this process was mastering. In the past, I’ve always taken care of this step myself since the music I’d written wasn’t commercial. I was just writing for fun. However, after the amount of time and effort I spent on this soundtrack, I wanted to make sure that it was properly mastered so that it would work well in both the game and also as a soundtrack release. Luckily, my friend Chris Muggli-Miller recently started a mastering business called High Score Mastering (http://highscoremastering.com/). I had them to the work and I’m very pleased with the results.

All that is left is to wait for Michael to finish the game so that we can finally release this game and music to the world!

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So, that was my experience writing the soundtrack to my first game. If you’re reading this blog before the game and soundtrack have been released, I apologize that I can’t share the actual music with you yet. I’m very excited for you to play the game and I hope you feel like the music compliments the game’s world well.

If you have played the game and heard the soundtrack, I’d love to hear your thoughts. Please comment below anything you might have to say about it. Also, if you have any questions for me, please feel free to post them as well. I’ll do my best to answer them.

Thanks for reading.

-Chris-

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“Why is the Princess in a Magic Forest?!” PART 2

(This is part 2. Please read part 1 first.)

I mentioned at the end of my last post how I finished composing the five tracks for “Magic Forest” over the summer of 2013. I exported two versions of each, one that ends exactly at the loop point so that it can be used in the game, and another one that repeats twice and fades out for use in a future soundtrack release. I sent the tracks to Michael (the game’s creator, in case you forgot) and I was ready to call it done.

I listened to my finished tracks over and over, partly for enjoyment, partly because I wanted to make sure I was completely happy with them. The game was still not finished at that point (and as of my writing this it still isn’t, actually), so I had plenty of time to torture myself over every little detail in the compositions. Sometimes I’d find a single note that I didn’t like, or an artifact left over during the mixing phase when I let a track clip. Any number of things. So I went back into the tracks many times, fixing them, changing them, adding to them, taking away. Eventually, I really did settle on them for a long time. I moved on to other personal projects, just writing music for the sake of writing music as Michael continued to work on the game.

I wrote a number of tracks, stepping out of my comfort zones in terms of instruments and styles. I felt like I was increasing my skills more and more with each track that I completed. Not only was I getting better at composing, but I was also learning a lot about mixing. It seemed like each piece that I finished felt more polished than the last.

During the winter holidays of 2013 I treated myself to a major upgrade for my modest home studio. I bought a bunch of new, professional quality virtual instruments and mixing plugins, and a 2TB external USB 3.0 hard drive to house them. I started writing new pieces using these instruments and was blown away at how good the samples sounded.

Likewise, I now had a plethora of new mixing tools that I had never used before now at my disposal. As I started to get a feel for how best to utilize them, my mixes started to really come alive: they were clearer, roomier, louder, and more dynamic.

All it took was for me to listen to my old “finished” tracks for “Magic Forest” to know what I had to do. The game still wasn’t done, which meant that I had plenty of time to revisit each track, and improve upon them with the tools I’d acquired and the skills I’d developed over the previous few months. I did the absolutely crazy thing and decided to rework to large extent every single track that I had finished.

I started with the shortest track of the five, the main menu music. The first thing I did was switch out the old string samples that I had used for the new professional quality instruments that I had bought. Turns out that it’s not so simple though. The previous string library I had used was quite nice, but it was a rather simple instrument without much in terms of changing articulations or dynamics and such. By simply switching the instrument, the performance of the MIDI notes was no longer correct. So I went back into the part and meticulously sculpted every note, providing different articulations for the legato transitions, and dynamic and other performance changes throughout.

After I was happy with the composition and performance aspect of the piece, it was time to bounce the MIDI to brand new audio files and start from a completely fresh mix. Each instrument received its own separate audio track, bounced completely dry (no reverb) and with no panning. With all the different parts before me, I started to mix. I started off by adjusting the relative volumes of the instruments so that they were approximately where I wanted them. Then I panned them to the left, right, and center to my taste. Next came EQ. I learned over the previous few months that less is more, so I adjusted each instruments EQ just enough to make the parts stand out, both in the mix, and from the other parts without being overpowering. Then I added individual reverb to each instrument, dialing in the amount of wet and dry in order for it all to work good together. Lastly, I added compression to a few of the instruments that still seemed to be a little too buried in the mix, mainly the percussion.

After bouncing all of the audio tracks to a new one, I still had a little bit of headroom so I added a limiter and bumped it up just enough to give the overall volume a little extra push, but not so much that every single part of the track sounded the same. I wanted the track to remain dynamic and interesting, not exhausting.

After finishing the new mix for the main menu music and comparing it to the old mix, I knew that I had to do the same treatment to the other tracks. I did the same for the music for stages 11-20 the following weekend, again getting very good results by switching the strings, and applying my improved mixing skills to the track.

Just this past Saturday (February 1st, 2014), I had a marathon mixing day. I worked from 9:00 AM to 10:00 PM mixing the remaining three pieces. I started with the music for stages 1 through 10, then moved on to the “boss” music, then finished with the longest one, the music for stages 21-30.

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After all that, you’d think I’d be done, right?
No.
Stick around for Part 3 and see why I was pretty much forced to go back and do one final rewrite.

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“Why is the Princess in a Magic Forest?!” PART 1

It has been my dream to compose music for video games for a long time. Last summer (the year 2013), I was particularly motivated to somehow land a job writing for a game. I didn’t care what it was. I had been writing music for too long to have it just sit, unheard, on my computer hard drive. So I sent out a message on Facebook asking if anyone knew someone who was making a video game and needed a composer. A friend of mine who I studied with at Kyushu University a few years before was classmates with a guy named Michael who was currently hard at work making a game. Turns out he was doing everything from programming, to level design, to art design entirely by himself. Luckily for me he was in need of a composer. My friend put us in touch and we started communicating via Facebook.

Michael was working on a kind of puzzle game that he called “Why is the Princess in a Magic Forest?!”, or “Magic Forest” for short. When I first got in contact with him he had the basic gameplay mechanics in place, and some very rough-looking sample videos showing character movement, bad guy interaction, and general play mechanics. The actual visuals at that point were pretty much just stock models and bare grids. But I got a good idea of how the game was supposed to play.

He explained a little of the story and setting to me and asked if I’d like to write the soundtrack for the game. Of course, I gladly accepted.

I believe that it was that very night that I started work on the very first composition I would write for “Magic Forest”. I was picturing a dark, eerie forest that the main character would be making his way through. I wrote a melodic, yet somewhat dark and somber theme. I spent quite a few nights on it and was very anxious for Michael to hear it. I sent him the file and he gave it a listen.

His response: “I have to admit, I really like this piece. But it’s doesn’t exactly fit the world I have envisioned for the game.”

It turns out that, yes, the game is going to be set in a magic forest, but the overall feel of the game is less foreboding, and more whimsical and comical.

So that’s what I get for being too anxious and starting on the music before even seeing any concept art for what the game will look like visually.

It was a very good lesson that I learned right away. A game’s visuals are a key component in determining how to structure your music. You can’t rely on your own conception of what you feel a magic forest would look like. It may be the case that your image is entirely different from that of the game’s creator. Ultimately, it’s the creator’s vision that trumps and you must work very closely with them in order to settle upon a tone that works with his or her vision for their game.

I had been writing music just for the sake of writing music for so long that, while slightly disappointed that the piece I wrote wouldn’t make it into the game (though I should mention that I am planning on putting the track up on my Youtube and Soundcloud page so you all can hear it at least), I wasn’t really fazed. Michael described a little more to me about the game’s visual style and showed me some sketches and concept art he’d done. He asked for a more expressive instrumentation and a more whimsical feel, especially for the opening levels. He intends to divide the stages into sets of ten levels: the first ten being more the outskirts of the forest, the next ten actually inside the forest, then gradually getting deeper and deeper inside.

I got to writing a new theme, looking at the concept art for reference and inspiration. I utilized expressive strings and woodwinds, tuned percussion and harps. This would become the music that is played during stages 11 through 20.

In my current job I’m lucky enough to be able to take off about six weeks in a row during summer, so I continued writing almost every day throughout that summer vacation. I wrote the theme for the first ten stages, which Michael wanted to be even more whimsical than the previous theme I had completed. I then moved on to the main menu music, followed by some a dark, brass and percussion heavy “boss” theme for a special type of stage in the game. The last piece I wrote was the music for stages 21 through 30. The difficulty of the puzzles gets higher and higher as you progress, so the amount of time the player will spend increases the further in the game you get. Knowing this, I wanted to make a relatively lengthy piece for these final stages. I spent the most time on this last piece, and it’s definitely the most ambitious one I wrote for “Magic Forest”.

I finished composing all five tracks over that summer, getting a lot of very helpful feedback from fellow composer Chris Muggli-Miller along the way (Chris and I run a composing blog together called Compose and Contrast). But, as is often the case, the first time you think you’re done with a piece, your rarely are.

In the next post I will talk about how my “finished” compositions went through more changes over the following months.

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