Holy crap you have NO idea how much this means to me. I spend so much time thinking about the sections / playlists and what type of content they should have, how frequent etc. And then I think "no one is actually going to look at that or care." So knowing that at least *one* person takes note really really feels vindicating. Thank you!
@@awintory I'd wager 10 bucks to a nickel that Brandon and CJ love them as well and what they'll get from properly utilizing them will undoubtedly make your efforts worth it, for they have big things in their futures and you've helped guide them on their path.
One of the most trying moments of a composer is coming up with a good theme or riff that's decently memorable to us but also very intriguing and instinctual to the listeners. Great video of advice as always Austin.
This series really is fantastic Austin! Having you and other industry heavyweights speak so candidly about their experiences and the industry via the lens of people trying to get into the industry is so invaluable - I really hope you continue it beyond the Light in the Void Kickstarter (if time permits of course)
I love the way your head snaps up at the words "even videogames" :-) Thanks to Bear and yourself for the clear explanations of the points raised. I especially liked the cooking analogy at the start. It's something I'm always aware of when photo processing; it's so easy to throw in your 'pet ' techniques but the trick is to know what's appropriate for a given situation. To my untrained ear the pieces under review sounded pretty good - great work guys!
Also getting some definite Trent Reznor vibes from Christopher's work. Bear's comments about a remaining need for melody sounded spot on and certainly fair, but it still certainly manages to resonate. I found it moving and beautiful.
As a therapist I'm intrigued by that parallel drawn with composers. I can think of no reason to disagree! Man, I'd love to see you explore that topic further.
I’d really like to hear your thoughts on the differences, real or perceived, between eastern and western musical styles and how they’ve changed over the years. You’ve used the Alash Ensemble and the serpent, you’ve mentioned how JRPG music is essentially its own genre, and I really want to hear you expand on that!
Austin, I'm sorry for spamming you so much but if only we could meet one day, you and Bear love all the same music I do but have way more knowledge than I do about said music. I listen to Bartok and Ives quite a bit and I was never able to articulate what made me love their music and so much and that was the economy of sound and the stretching of simple ideas into full fledged ones.
Oh, so my ears weren't quite so wrong suggesting me some Zimmer/Nolan collab influence on the second piece, because I definitely heard that. I just couldn't pinpoint at a specific score it felt reminiscent of ^^' BTW, I enjoyed listening to both pieces and the whole convo that goes along with it. I don't know zip about composing, nor am in any way or form musically proficient but it's always interesting to listen to these 🥰
Honestly that's too broad to offer a meaningful answer here. Follow my new Q&A series for more specifics along these lines (and feel free to leave a question in the comments there, which I try to answer in subsequent videos). Short thoughts: learn everything about the game industry. Attend conferences, hang out with developers, artists, producers, etc. Become part of it by getting to know the rest of the people outside the music bubble!
It’s really interesting watching this, as a consumer of music rather than a creator, ( though in my head I swear I could do it if had the tools), how much is governed by what’s pleasing to the ear and what works in the medium and then what’s composer hubris, also what’s the goal? The reason John Williams is so well revered is he has consistently written great themes that stick in your head, Jerry Goldsmith wrote stuff that is just awesome to listen to quite often despite and outside of the medium it was created for, Hans Zimmer who I’ve been a fan of since the 80’s quite often now writes scores that tonaly fit the movie but are frankly unlistenable outside of it. Even my absolute fav composer at the moment ( sorry Austin ) Thomas Bergersen, released 2 modern symphonies where there are parts that sound like they were written for the composer, and you are waiting for other parts that are just awesome sounding and stick with you as the listener, but then that could just be my ears, one of the great things about music is that everyone will take something different out of everything
It's a matter of training your brain what to listen for. When I was about 8, my horizon reached as far as the viennese classics and the romantics, including Mahler. But "proper" 20th Century music l had not yet heard before. And then my Dad introduced me to Stavinsky's Sacre. And my brain just couldn't handle it. Just like you I was waiting for the listenable parts and hated the rest. Now I think it is the greatest thing ever written. And of course just the listeners personality plays a role. Others may think that Schoenberg's dodecaphonic and serial phase is the greatest thing ever, I think it is the product of someone who thought too much about music, and forgot that it needs to reach the heart and not just the head.
@@Quotenwagnerianer I’ll go the other way, I grew up with Top of the flops and Genesis, but when was about 14/15 was given a ghetto blaster that had internal microphones, so I started recording stuff of the tv, opening credits and closing credits of movies I liked the “Themes” to, the first soundtrack I bought was Rocky 2, then a guy called Eric Kunzel with the Cincinnati pops orchestra released some albums of more film themes that blew me away, one of my first jobs was working for the Wycombe 6 cinema, which just fuelled the fire so to speak, then I discovered a new composer on the block who did Black Rain and Backdraft within and my love for Hans Zimmer was born. Though still my favourite score of all time is ET the extra Terrestrial. My Soundtrack collection has grown and gotten far and wide, as for classical compositions I sought out Holsts the Planets specifically recorded by the London Symphony Orchestra and Rediscovered, Alien, Star Trek, and Gladiator, contained within, (there are probably countless others). In recent years my palate has both expanded and also shrunk, i Hung up my DJ tools and now just listen to what I like whilst tons of CD’s and bands I used to listen to gather dust. Game music has come on leaps and bounds, Austin’s Journey, and his Assassins creed soundtrack elevate both games to a new level. Then my love of film music led into this new wave of new classical music with Two Steps From Hell, and one part of that is Thomas Bergersen. And we are currently up to part IV of the seven part opus Humanity, as for classical classical, as close as I’ve gotten to that is the Immortal Beloved Soundtrack, which is entirely Beethoven, and I still have memories of being in a classroom listening to the story of Peter and the wolf as the record played, so yes my ear is about the melodie, or at least about a really good “Austin Ata” , you shouldn’t have to work to enjoy music in my opinion, my case in point is go play the game The Artful Escape, it’s 4 hrs long, but one of the best audio/visual experiences you’ll have in gaming, and everything I’m talking about.
@@ColinRylanderWilkes "Though still my favourite score of all time is ET the extra Terrestrial." Mine as well. I was 5 when that movie came out and my Dad bought the LP right after we came out of the theater.
@@ColinRylanderWilkes I remember the picture disk sitting on the shelf in the shop where we bought the standard edition. Of course I wanted it as well, but my father knew better not to needlessly buy one album twice, just because a 5 year old liked vinyl with a picture on it. ;) I have the standard and the full release CD. I think as an album I like the standard version better, because it contains more cues changed for concert performance, which makes up for a better listening experience. But I also like having the entire music as it appeared in the movie on CD.
I feel like there's some harm being done to young composers that makes them feel like they dare not use a melody or theme that bears any resemblance to existing works. Adapting and responding to the work of other composers is so deeply ingrained in classical music canon. Mozart references Graf, Beethoven does variations on Handel, Rachmaninoff does Rhapsody on a Theme by Paganini, Vaughn Williams does Fantasia on a Theme by Tallis. Is it just the modern notions of ownership and branding? Or are young artists being traumatized by the conflicting ideas that nothing uniquely original can exist at the same time as it being the gravest of sins to be less than wholly original. Is this just post-modernism?
22:14 - VERY important.
I'll have to go back to this advice from time to time because it's so easy to forget, but essential
Ha! Half the reason I say these things is reminders to MYSELF. I need that lesson (any many others) too
Coming here from Play, Watch, Listen I have to say Austin's private channel is so organized. Look at these beautifully laid out sections.
:)
Holy crap you have NO idea how much this means to me. I spend so much time thinking about the sections / playlists and what type of content they should have, how frequent etc. And then I think "no one is actually going to look at that or care." So knowing that at least *one* person takes note really really feels vindicating. Thank you!
@@awintory I'd wager 10 bucks to a nickel that Brandon and CJ love them as well and what they'll get from properly utilizing them will undoubtedly make your efforts worth it, for they have big things in their futures and you've helped guide them on their path.
@@awintory Thank you for doing so; it means a lot to people who have organizational "issues"
Love when composer waving their hands all over the place when explaining something. LET THE HAND TALK
One of the most trying moments of a composer is coming up with a good theme or riff that's decently memorable to us but also very intriguing and instinctual to the listeners. Great video of advice as always Austin.
The Black Sails theme by Bear is one of my favourite themes of all time. Its got so much attitude and power, such an awesome piece!
My single all-time favorite of his
even the outlander tracks... its way better than the show ngl
@@dis_appointed8626 I know of the show, not heard the soundtrack. I'll give it a listen mate!
Bear and Austin together
This series really is fantastic Austin! Having you and other industry heavyweights speak so candidly about their experiences and the industry via the lens of people trying to get into the industry is so invaluable - I really hope you continue it beyond the Light in the Void Kickstarter (if time permits of course)
and a great opportunity for up-and-coming composers to have their work critiqued
So glad it helps. I may or may not do more of these. I have one more to share still but unclear if I'll have ability to do more
This is the best unbirthday gift I could've ever received. Thank you Austin!! :3
I love the way your head snaps up at the words "even videogames" :-) Thanks to Bear and yourself for the clear explanations of the points raised. I especially liked the cooking analogy at the start. It's something I'm always aware of when photo processing; it's so easy to throw in your 'pet ' techniques but the trick is to know what's appropriate for a given situation.
To my untrained ear the pieces under review sounded pretty good - great work guys!
Also getting some definite Trent Reznor vibes from Christopher's work. Bear's comments about a remaining need for melody sounded spot on and certainly fair, but it still certainly manages to resonate. I found it moving and beautiful.
I love Bear. He's so enjoyable to listen to... and informative
As a therapist I'm intrigued by that parallel drawn with composers. I can think of no reason to disagree! Man, I'd love to see you explore that topic further.
Austin throwing random Holst reference at 30:07
i've seen you sir !!!
I thought of making a cameo of Bear as an actual bear playing an accordion like Kass from Breath of the Wild. That would be pretty nifty.
1:16:30 A kindred spirit! :D
For at least an hour, I was going "How is it that no one has mentioned Human Target yet?!"
It blows my mind this channel doesn't get more views. Pure gold content here.
You had me at Austin and Bear in a single video.
Oh, and he was also Ræb in God of War Ragnarök, which is really my idea of putting him as a cameo in my project! Hahaha.
I’d really like to hear your thoughts on the differences, real or perceived, between eastern and western musical styles and how they’ve changed over the years.
You’ve used the Alash Ensemble and the serpent, you’ve mentioned how JRPG music is essentially its own genre, and I really want to hear you expand on that!
I'm so sad I didn't get a chance to watch Light In the Void live when it aired. I hope I'll get a chance to experience one day!
Bear is such a stand-up guy. Very grateful for is wisdom in this!
These types of conversations are probably my favorite, so much wisdom 🧘♀️
Great session! Thank you!
This is why I love you, man. An HOUR of exactly what I need to see. You're an encouragement and an inspiration. Thank you so much!
Struggling with themes for a project currently so this was a well timed release!
Austin, I'm sorry for spamming you so much but if only we could meet one day, you and Bear love all the same music I do but have way more knowledge than I do about said music. I listen to Bartok and Ives quite a bit and I was never able to articulate what made me love their music and so much and that was the economy of sound and the stretching of simple ideas into full fledged ones.
I definetly like this conversation. Very inspiring.
I really appreciate you hosting and uploading these videos and types of conversations. All so fascinating to watch.
I love these so much, thank you for this.
Oh, so my ears weren't quite so wrong suggesting me some Zimmer/Nolan collab influence on the second piece, because I definitely heard that. I just couldn't pinpoint at a specific score it felt reminiscent of ^^' BTW, I enjoyed listening to both pieces and the whole convo that goes along with it. I don't know zip about composing, nor am in any way or form musically proficient but it's always interesting to listen to these 🥰
It gave me Westworld vibes.
Excellent !
Thanks so much Austin!! Any Advice for Breaking into the gaming industry as a composer?
Honestly that's too broad to offer a meaningful answer here. Follow my new Q&A series for more specifics along these lines (and feel free to leave a question in the comments there, which I try to answer in subsequent videos).
Short thoughts: learn everything about the game industry. Attend conferences, hang out with developers, artists, producers, etc. Become part of it by getting to know the rest of the people outside the music bubble!
These are great.
Sorry for the not related questione, do you knos when the Aliens fireteam elite soundtrack Will come out?
Not sure yet!
Cool I really like your channel.
I really really like the first composition.
Thank you! I had a lot of fun writing it.
Holly Molly. The best and brightest! Thank you for your insight. It was really intresting
Oh it's Christmas
Forever now it will be an Austin ato :)
It’s really interesting watching this, as a consumer of music rather than a creator, ( though in my head I swear I could do it if had the tools), how much is governed by what’s pleasing to the ear and what works in the medium and then what’s composer hubris, also what’s the goal? The reason John Williams is so well revered is he has consistently written great themes that stick in your head, Jerry Goldsmith wrote stuff that is just awesome to listen to quite often despite and outside of the medium it was created for, Hans Zimmer who I’ve been a fan of since the 80’s quite often now writes scores that tonaly fit the movie but are frankly unlistenable outside of it. Even my absolute fav composer at the moment ( sorry Austin ) Thomas Bergersen, released 2 modern symphonies where there are parts that sound like they were written for the composer, and you are waiting for other parts that are just awesome sounding and stick with you as the listener, but then that could just be my ears, one of the great things about music is that everyone will take something different out of everything
It's a matter of training your brain what to listen for.
When I was about 8, my horizon reached as far as the viennese classics and the romantics, including Mahler.
But "proper" 20th Century music l had not yet heard before. And then my Dad introduced me to Stavinsky's Sacre. And my brain just couldn't handle it. Just like you I was waiting for the listenable parts and hated the rest.
Now I think it is the greatest thing ever written.
And of course just the listeners personality plays a role. Others may think that Schoenberg's dodecaphonic and serial phase is the greatest thing ever, I think it is the product of someone who thought too much about music, and forgot that it needs to reach the heart and not just the head.
@@Quotenwagnerianer I’ll go the other way, I grew up with Top of the flops and Genesis, but when was about 14/15 was given a ghetto blaster that had internal microphones, so I started recording stuff of the tv, opening credits and closing credits of movies I liked the “Themes” to, the first soundtrack I bought was Rocky 2, then a guy called Eric Kunzel with the Cincinnati pops orchestra released some albums of more film themes that blew me away, one of my first jobs was working for the Wycombe 6 cinema, which just fuelled the fire so to speak, then I discovered a new composer on the block who did Black Rain and Backdraft within and my love for Hans Zimmer was born. Though still my favourite score of all time is ET the extra Terrestrial. My Soundtrack collection has grown and gotten far and wide, as for classical compositions I sought out Holsts the Planets specifically recorded by the London Symphony Orchestra and Rediscovered, Alien, Star Trek, and Gladiator, contained within, (there are probably countless others). In recent years my palate has both expanded and also shrunk, i Hung up my DJ tools and now just listen to what I like whilst tons of CD’s and bands I used to listen to gather dust. Game music has come on leaps and bounds, Austin’s Journey, and his Assassins creed soundtrack elevate both games to a new level. Then my love of film music led into this new wave of new classical music with Two Steps From Hell, and one part of that is Thomas Bergersen. And we are currently up to part IV of the seven part opus Humanity, as for classical classical, as close as I’ve gotten to that is the Immortal Beloved Soundtrack, which is entirely Beethoven, and I still have memories of being in a classroom listening to the story of Peter and the wolf as the record played, so yes my ear is about the melodie, or at least about a really good “Austin Ata” , you shouldn’t have to work to enjoy music in my opinion, my case in point is go play the game The Artful Escape, it’s 4 hrs long, but one of the best audio/visual experiences you’ll have in gaming, and everything I’m talking about.
@@ColinRylanderWilkes "Though still my favourite score of all time is ET the extra Terrestrial."
Mine as well. I was 5 when that movie came out and my Dad bought the LP right after we came out of the theater.
@@Quotenwagnerianer awesome I have the picture disc LP:) as well as the CD. :)
@@ColinRylanderWilkes I remember the picture disk sitting on the shelf in the shop where we bought the standard edition.
Of course I wanted it as well, but my father knew better not to needlessly buy one album twice, just because a 5 year old liked vinyl with a picture on it. ;)
I have the standard and the full release CD.
I think as an album I like the standard version better, because it contains more cues changed for concert performance, which makes up for a better listening experience. But I also like having the entire music as it appeared in the movie on CD.
I feel like there's some harm being done to young composers that makes them feel like they dare not use a melody or theme that bears any resemblance to existing works. Adapting and responding to the work of other composers is so deeply ingrained in classical music canon. Mozart references Graf, Beethoven does variations on Handel, Rachmaninoff does Rhapsody on a Theme by Paganini, Vaughn Williams does Fantasia on a Theme by Tallis. Is it just the modern notions of ownership and branding? Or are young artists being traumatized by the conflicting ideas that nothing uniquely original can exist at the same time as it being the gravest of sins to be less than wholly original. Is this just post-modernism?
What are you reacting to specifically here? I don't think anyone would deny the influence of the past on their work