Star Citizen: April Subscriber's Town Hall feat. Audio Team

27 April 201601:03:111,405 linesWatch on YouTube ↗

Transcript — every row opens the video at that moment

00:00:25
hey everybody uh welcome to the April subscriber Edition reverse the verse uh I'm Jared Huckaby your community manager for Star Citizen Squadron 42 uh the April the subscriber Edition reverse the verse is our monthly edition of our weekly informal live stream with the fans uh we get some special guests to come aboard and we we take questions exclusively from our subscriber chat so if you wish to ask questions during the question and answer portion of the show uh you should join RSI chat on robertsspaceindustries.com and join in the subscribers Tab and and uh you'll be ready for when we're asking questions uh but before that we'll start with our introductions we have two very special guests with us uh from Foundry 42 UK our senior sound designer Mr Ross trenza am I saying that right trenza yes
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y perfect yep I recorded a promo for this last night and I tripped over it so many times I just said f it and and posted the the mistake promo uh and uh composer for Star Citizen uh you've seen him on around the verse you've seen him on in broadcast uh he's no stranger to community interaction we love him dearly Mr Pedro kamacho how you doing Pedro hi how doing jar thank you so much for having me thank you so much uh thanks thanks for being on the show now um before we get started with the questions and whatnot uh there are many people who maybe haven't seen uh Pedro before haven't seen Ross before so why don't we start by introducing a little bit of who you are and what you do for Star Citizen uh Ross you want us to start us off uh yes so I'm a senior sound designer here at the UK studio uh
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I kind of specialize in the music aspects of the game so um I take Pedro's amazing music and uh I put that in different places um I help build the sort of the logic systems of the music so in combat when things kick off making sure it sounds awesome and let it die down again all that kind of crazy stuff um yeah that that's me right and and how'd you come how'd you come aboard Star Citizen um I've been a sound designer and composer for uh 10 years or so I was working with uh krych UK in free radical before that uh and then I was a composer for years and years before that so um I started off just doing occasional little tracks for games and uh escalated into uh into into this madness it's a it's a pretty it's a
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pretty mad project it's wonderful yeah and you're doing audio for both uh Star Citizen an Squadron 42 yep yeah y That's right as well as the music aspects handle a lot of like the narrative side of the Squadron so uh kind of got two little areas keeps it interesting it's pretty awesome gotcha and Pedro give us give us give us the reader digest who is Pedro kamacho well I'm I'm a guy who likes to make music and I really been a pleasure to be working with SAR C byway and it's uh it's been an honor actually uh really great people everywhere is one of them actually he's been extremely helpful actually uh really um because sometimes you know uh when you're when you're Your Castle sessions and and not only that
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day by day you know each day when you start working it's great to have someone to you know just speak with and get a second opinion something like that because you never know it all you know it's it's never a lonely job so it's always a team job tell always a team workor so it's um it's uh so if uh if if if you enjoy the music yeah sure the name comes with me as composed as sure but it's always always a teamwork with everyone so and you came aboard you came aboard around the 300 commercial if I remember correctly yeah I came board a bit before but 300 was the first uh was the first public thing that people heard gotta from me so yeah that was that was really
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a nice moment actually nice really really really cool stuff Co so uh today's today's uh podcast is going toh focus a bit on the music side for Star sis now uh we've had music in Star Sison for some time you know from the the first drop of Arena Commander uh that was uh tell us about composing the First music that that was for Star the arena Commander stuff that was that was midi orchestrations at the time yeah yeah initially everything starts with midi orchestration um when I did the midi for that one uh I I knew I already knew it would be uh played of course with a real Orchestra for sure so I didn't place too much detail into it some backers heard it I think it was the one of the the
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very few probably the only track that I heard some very some kind of not so positive comments back that but the reason actually was it was just it's fine no does perfect no it's actually fine everyone does does uh doesn't doesn't do good all the time actually it needs needs some luck hard work and um I don't know um I don't know maybe some luck in hard really most of it hard work but anyway uh on that track it was like in the midi just to get an idea for Chris uh Chris loved it he just uh back then and um and we always thought we we will have an orchestra it took a little bit longer but it's done now and yeah I think I love it personally I personally really really
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enjoy it and it's uh it was really a touching moment for me when it finally came true we had one of uh very own uh friends and and colleagues Bob R solo from from our team there in the in the in the session and he was he heard it live I still hope that we can actually play it live to people to our people to or more people than just our our people our backers because that's because of their because of because of them that we can all do all of this of course I never forget that that's why we put so much passion into it and I remember po was listening to it in in the hall uh and he he he got a he about a he his eyes got a bit wet let's say it was I
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never thought it would touch touch him like that like that that was pretty cool that's when I thought well well that was a really really cool really cool moment for me all right so that Hall is just amazing the the the hall in brattis laava it's it's absolutely phenomenal it's um it's just such a beautiful building if if anybody wants to check it out just uh Google the Slovak radio building it's an upside down pyramid in like a brutalist style and like the the whole back of the hall it's it's the the biggest um musical organ in all of Europe it's it's like a 40f foot musical instrument it's amazing just it's breathtaking so we'll get into to the stories of the orchestration here in just a minute with the midi stuff uh Ross can you talk a little bit about
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implementing a a midi Orchestra in uh cry engine I know we we did some changes uh we moved to W what I don't know how to say how do you say that anyway W is it w why yeah yep yep I asked the guys a long time ago why is this the official way and you save you save yourself a w every time you don't say that W so it's a great timesaving tip there it's just wise so talk about tell us about implementing the orchestra and the or the the the midi orchestration well the um the the complication is because you have this beautiful music but um obviously in this kind of sandbox gameplay you can never guarantee what people do uh I mean you can take a beautiful song and you can just slap it into a game and it'll it'll sound beautiful but there's no dynamism
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there's no you know there's no interaction there's no feedback with it so what we have to do is take these these tiny sections and then just move dynamically from one to another based on feedback we're getting from the game we have like a running number of intensity that that's fed into from all kinds of elements like are more bad guys arriving did you just kill someone are your friends dying and that number r Rises and Rises and Rises and uh as it does so Pedro's music broken into these little blocks will slowly like rise with with your your story and like your adventure which is so much more interesting and so much more engaging for the player gotcha and Pedro is that taken into account when you compose the music of course of course when we want the music to work with the game above all not be like a it's good when when it
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also gets sounds nice outside the game but but the most important is of course the game we want players to to feel immersed with with the game I feel we have like a ton of material and we're doing like a ton of more material now and uh I think we just did the most difficult part now in my opinion I think now it comes the easier part because we nailed more the action part and the stuff that really requires a bit more work now it's it will be easier and we will it all together and uh and we'll just adjust it just as as needed to make sure it just fits with with the game that's it that's it hope it sounds great all right so for the last year or so players have had have had the midi version of your orchestrations uh
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recently you just did two recording sessions in Bros laava is it two well yeah we did we did and Ross Ross can speak about he was there on on all the sessions he was really helpful so maybe he can describe it more better than me yeah tell us about actually recording a full orchestration oh Pedro oh well um it's [Music] um yeah it's it's really it's really great well it's not my first time it's a it's it's really not my first nor my second time but I remember I I Tred to remember when I Did It For the First Time a long time ago it was really more overwhelming because it's it's a novelty you you not you're not used to that so and um but
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um but seeing together some of the there was there was one of the tracks that I did that that made me kind of in the first session that we did in the second also the second but the first one really touched me one of it was the arena Commander theme actually as well because I did it so long ago and I kind of wish that moment came came true to to actually happen and I and I and I had a small idea in one of uh one of one of the tracks uh in one of the part like initial part I I changed some bit of the melody and that Melody for some reason really touched me because it uh uh I was like it it was uh I I was glad that I that I had that time so I could review the
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score and and and it really touched me they they played the be the Orchestra played beautifully as well so that was uh they they was kind of feeling it they were playing with with passion I could feel that that that's that's also important it's not just uh uh those guys are used to play a lot of music if they get kind of touch with the music they have in front of them that's probably a good sign and I felt that there there's more to things than just a technical prowess that you have to you have to put a little bit of your into your performance you know and it it it shows when you listen to it you know when you listen to the better you know performances anyway yeah completely I felt there was some of the performance Ross was there but some of the tracks uh they of course not all have like yeah I love them all
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but some of them really in the performance came out much better than it's it's like it's like you know the first time they probably played uh I don't know Boven 5 or something probably was not the best performance you know with time you know people just but I think we still even though they played it like just a few times before recording a final take there were there was some really nice uh a really really a really nice takes there really moved me yeah even even the first the first performance though these these people are so um outrageously talented that you can put this sheet music in front of them for Pedro's beautiful complex music and they can crash through it and do a
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pretty amazing take just site reading from as a first performance it's it's absolutely astonishing to witness it and what was the orchestra that was working that you were working with in Bros laava Pedro yeah it's it's it's it's not one single uh Orchestra is actually a combined orchest with some of the best players that are in Slovakia um most of them I believe were are from the the the radio Symphony Slovakia R Symphony if I'm not mistaken about the name I I didn't I didn't I didn't re memorize it completely it's uh but um but but I but I yeah the uh yeah but yeah that's I'm always trying to remember the
00:14:29
name of another chestra but I don't remember anyway the players are great like Ross said the players are really great and they just did did a great job did a great believe it was really a great job oh yeah definitely Ross do you have a a story or anything a funny story you can share from the recording uh well besides Bob crying I'm not with that I mean I I think uh anybody that was there and witnessed that music had had a tear in their eyee it was there was um in the like I said that there was this out outrageously giant um like church style organ that took up the back wall we really did try all the time to have a go on that I don't I never got to have a go did you get to have a go on it Pedro sorry sorry sound just you remember the the giant organ in the back
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of the hole that took up the yeah sure oh that was awesome I really wanted to play that did you get to play it in the end yeah I did I did get to play it yeah I didn't get to play it yeah I did get to play it and and I actually recorded a little bit of it but well but yeah it was this was great the the yeah the the sound was just awesome it made me want to use it at some point um I don't know if that will happen but but it really was an awesome organ we do like a like a a Gothic horror H sub story somewhere in uh in Squadron that's what we need that's right that's right that's a more for for Jeff zelli as you know it's the other composer it's working with us and he's
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doing probably he will do an amazing job and maybe we can drop the tip for him for Squad that probably can be a very nice addition that's that would be really great to hear gotcha well we've talked about uh scoring the orchestration there uh you specifically mentioned the arena Commander theme uh what do you think we do you think we can play some of play The Arena command theme for folks the the new fully orchestrated version yeah hold on let me let me look hey hey Ben if if I can't play it say something now no he didn't say anything all right we're good so right now we're g try to play the them let's see if we get to start here
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n a oh let go
00:20:24
again W Pedro Pedro Let Me Love You Through the screen hold on I love you through the screen on behalf of the Star Citizen Community sending your love one of those comments was Pedro is the new John Williams so I thought you'd like that nah that's that's not true that's not true Johns is really it's really awesome still have some some years ahead of me he's too modest he's so modest it's no I'm I'm actually realistic that's that's the sad part where we are realistic about ourselves and but anyway I'll try hard let's hope all right so I I heard some uh now I've
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heard this is this is a more recent mix I heard like when the day like the day after you got back you had a you had an initial mix of this that you Shar with us and I I I I've heard I heard some differences already we'd have to go back to we have to we' have to go back through it from to point out to do it but uh but uh it's awesome seeing it or seeing it hearing it iterate uh I just you mentioned earlier because you had you had an idea and you made some changes and again I'd have to play it and like point out to it to to tell you exactly where it is but uh it's noticeable and it's it is better so good job oh I'm hitting the mic so uh so Ross we know what Pedro did for that what did you do uh no not a lot on that song well um we took it to well I was
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with him in Bratislava but really uh you know I'm just there to be there and uh uh yeah if he wants to discuss anything I can give an opinion but yeah that this stuff is Pedro all the way I'm just helping out where I can we we after um the initial recording we took it down to uh uh Peter Gabriel's uh real world studio in uh just outside of bath in the south of the country which was um it was a a great decision it was a phenomenal place to to mix it we had um a world class orchestral mixer called Peter fols with us who uh who took the helm there and uh he did a fantastic job and that that uh that whole place was just it was just an amazing thing to visit it's just out of this world Peter Gabriel's done with it
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yeah I've seen pictures of it I've obviously never been there but it looks like an amazing studio to mi in I was I was I was very uh my older brothers were were musicians for years so I've been in a number of music mixing Studios nothing remotely like that though that was breathtaking yeah so when you implement something like this I I just I just want to say that uh it's actually not true not only Ross but Al another person who's not here which is Lee banard yes who actually was also decisive for this this one to sound good and I will explain why uh we did an initial recording which is what you heard with the full Orchestra except the percussion because I was because that's what all composers do they they place a percussion in MIDI be fine no this is
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fine everyone does that um everyone say Zimmer to any major you know anyone uh except probably John Williams and uh I really felt that um even though the performance was great I felt if we had the percussion in the hole the percussion the the performance would be better because the musicians will feel the percussion their bodies and that will influ influence the way they play their own instruments so I asked Lee if I could make a new orchestration with the full uh percussion uh percussion which is like symbols tempany and uh and um snare which you heard and then suspend symbols as well so all those four
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symphonic um um percussion and I said well if we have some final minutes in the session maybe in the second session from this time maybe we can try it and and he said yes and and he also allowed the percussion to be uh to be U hired for for the um for for for the actual performance uh and I really think that you know it was his decision and I I think it was a very good decision to me it really made a difference in the music and uh the one you're hearing is all played live there's no no no shortcuts that's just just just like we hear in a concert there are no gimmicks also no over dubs nothing just what you would hear in in a concert hall so so I
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happy you should I think everybody's happy uh Ross what can you tell us about implementing an orchestration into the game uh is it the is it similar to the midi are you are you implementing all the individual instruments and then the uh the game mixes it live or how does that work you just play an MP3 figure out it's um it's difficult because uh uh there are certain restrictions obviously with um recordings of real Orchestra versus midi there's uh the human element which is which is what you want from uh real Orchestra all that that detail and human input um that can almost if you want to break things into blocks for for like I said that music logic system we talking about earlier um sometimes that that doesn't really work for that so because it needs
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to be so regimented and so machine-like for those blocks that really what you want to do for for these kind of beautiful tracks like Pedro's been writing um all this content these really need to be saved to be enjoyed as like one long piece so these will be used in in real those sort of sort of breathtaking show stopping moments in the game where we'll make sure that that they're triggered it's like a you know uh once very very rarely the right conditions will happen say like maybe it'll be first visit to a planet and one of his beautiful you know heart-wrenching Melodies will come in and and uh where it has been a bit more sort of modular and um machini before suddenly it becomes super emotive and human so it's really it's it's about making sure the conditions are right to to to go bam and drop one of these these Pedro bombs on people
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all right well it's 11:30 we're at our halfway point so congratulations guys you made it halfway uh we're going to start opening up the show to questions from our internet audience uh again guys uh this is our subscriber Edition RTV so we're taking questions from the subscriber chat on the RSI website uh you can go to you see the link down in the corner there community/ chat if for any reason the subscriber tab doesn't automatically open for you uh thank you Ross uh you can click more channels in the lower right hand corner and select the subscriber Tab and that will add you into it provided of course that you are a subscriber if you're not a subscriber you're free to watch the show and listen to the wonderful music but we're taking questions from subscri subscribers today and subscribers of
00:27:48
course please preface your question with the word question in capital letter surrounded by brackets it's just an easy thing to help me uh pick the questions out from all the other conversation that's going on so let's see we've got some questions feeding in already let's see uh uh that says question but that's not a question is that uh statement it's okay Pedro we love okay there's a lot of talk of Pedro bombs thank you very much thank you very much uh zon asks can you give us an idea of how many tracks there will be in Star Citizen Squadron 42 uh Pedro well it tracks in the game or in
00:28:38
the soundtrack um probably in the sound well in the in the game it's really I think it will be quite a lot because it's a yeah it would be completely um you know dynamic not the static thing so it's a difficult to yeah it' be like an ongoing thing really I mean uh as as the universe expands so so will the the music will expand with it yeah yeah and and but for the soundtrack um I hope people uh I I like I personally I preferred this is me this is me and and I felt everyone felt a bit like the same it's I prefer to have like um a well selected amount of music that works somehow together in a city that so I can enjoy while driving a car or just
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listening at home or on on the PC or something like that than having like a whole bunch of music like like a storage of music and so for this soundtrack that this is the first volume we are not placing all the music that has been heard in the game we're playing music that has never been heard but but actually fit oh sorry it fit better in the in the context of of the context of of of the CD why because it's more music that is heard while you're playing the game that's why what that was the main goal we wanted there's a lot of music I like doing for more for trailers but uh that's that you know that's really something that was for a
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trailer uh not for like it's it's like when you have music for a trailer and music from the score of film when you get the soundtrack you get the soundtrack from the music that was actually used in the film not the music that was used in trailers of that film not the same two John hoer bit that keeps getting reused over and over and over again so kind of like that so so I think I think um I think it's more much more than uh than we have right now but going in front to do I don't know we have as you know we have the wonderful composer which is Jeff salii he's a fantastic composer World winning guy really already famous guy so he will do a fantastic job I don't know how how many tracks he will do but probably a lot as well so uh so it will be great right yeah hope all it will be great we
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were working we are all passionate about this we really really want this to to work well infinity plus one asks will human areas and alien areas have different Dynamic background music uh yes well that's the plan um we really want to um want to make sure that as you move around the universe we'll build the systems and the systems that will be in place uh will be kind of a universal rule for how Music Works in space flight Etc we'd really like the whole the whole pallet of the music to shift as you as you move from different parts of the universe so um it's you can think of this that uh take games like a Red Dead Redemption which was a great example for uh for its Dynamic music you could move in different areas of that
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map and although the the flow of music was um comparable no matter where you were you really knew where you were just by the the instrumentation and just the tone of it so we want to do that on a Intergalactic scale is the plan gotcha U what did you just oh we probably can't talk about it you just never mind I just heard something that was alien-ish the Pedro sent me the other day it was very good uh why is Lando talking like a PBS DJ because this it's just me by myself and I don't have to talk over Ben and Justin and Alex you're listening to the Sweet soundss uh question will Pedro bombs make it into 2.4 definitely when is your your uh for like for instance the orchest the
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Orchestral Version of of AR Commander uh when will that music the orchestrated music start making its way into the game do we know it's uh it's really all about picking the good spots for everything now um obviously everything's sort of expanding out on a nice there a good Pace to it but we need to pick our moments very carefully for these pieces um there's a there's stuff arriving sooner rather than later but I can't give you anything very specific yet oh no I just realized I asked a when question yeah forever but we we're working really hard to make it fast I asked we working hard did you like my diplomatic answer I thought that was excellent no your answer was perfect I'm the one you know you get Pedro on here and I go Fanboy and I forget who I am I'm like when will this happen oh I'm so ashamed no but
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were working very hard me and Ross are working really hard to make it know as as soon as it polish you know we just don't want to show something that's not good but but exactly but I think you you you may hear something new in this show uh eventually so you will hear some of the new stuff so to hope that keep to Faith yeah about uh somebody whose name I'm not even going to begin to try to pronounce it starts with an A he says Pedro will you be at citizen con so I can get your autograph do we know if you're going to Citizen con yet I hope so hope so I hope so hope so hope so talk to talk talk to me after the show we'll see what the important thing for me I I just I want
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to add this I I really I really like to be in my own Corner my corner doing my my stuff and um and I'm I really I'm really thankful that people appreciate what I do but it's not my style you know to be like a rock star or something that's that's stuff for jarn Chris Ben Sandy they are the rock stars I'm just helping them okay ped come visit you at your Villa all right H it's a city your Villa is a city Pedro is king of his City I'm just House have a house all right voon asks hey Ross I play with very good speakers capable of going down in base do you consider subbase in all explosions Etc I'd like
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to hear something deep growls um well uh the other guys particularly in the sound team um two of our guys Darren and uh and Luke are working pretty hard on that at the moment actually for us the the subb is a tricky one because everybody loves the huge boomy explosions and stuff but it's um it needs to be used very carefully and very considerately so it when whenever somebody starts sound designing you immediately your first week in the job like dude I didn't make the biggest explosion in the world and then you realize you can't have that because it all adds up so uh they're working on systems that all kind of manage in an intelligent sort of self sustaining way how much of this awesome base is getting used so short answer yes it'll sound badass but uh there's some special Tech
00:36:02
coming in in the future for that gota for the Pedro bombs for the Pedro bombs uh Matt fiz asks can we please get the launcher music back yeah yeah yes yes well you can play it it's the main thing that that oh no the does he mean the old one or the new one I think he just means that when we open up the launcher they hear they could hear your your star syst theme your Arena commanda theme yeah that's we're in a trans kind of a transitory state with with a new Mega System of of music logic and uh it was an innocent bystander that that was uh stripped for a little while so we we'll get that back in ch um uh bacon of War asks is this Ross or Pedro's first crowdfunded
00:36:50
project uh certainly my first one Pedro is it your first yeah first one yeah that's what no i' I've always been uh in just traditional uh game company models where you know many many years of secretly making a game and then uh you release it it does very well or or no one buys it and the company dies but basically but so this is wonderful I love the fact we can talk openly about what we're doing and and have you this support it's completely new to me I guess the same for you Pedro yeah sure yes it's the the same thing for me it's a first time with the crowdfunding it's been actually harder for me because you um because you one thing I I always thought about I was quite sure I was was
00:37:39
very tried to be very fair with with uh not not just with the clients but who who was going to play the games I was scoring I always had the idea that the players are are actually good listeners and there there could be some discussions if they were or not and I thought they were so I I always you know it's little details doesn't matter but be very perfectionist about every single detail for me it's important and uh and being the crowdfunding game it kind of just proved that because uh the only time I did a sloppy midi uh mockup which is was for the arena Commander before he had the actual live broadcasting which was done on purpose I that that was the time I got slapped in in a for the
00:38:27
people just just saying oh my God this sounds rubbish or something like that and it really shows how people are listening and they are very very good listeners and we have several great musicians and actual composers on our that crowdfund us that really help us funding so not not only because we do because everyone because also because I want to do a good job and Ross wants to do a good job Everyone likes to do a job but we should never underestimate uh is not the case with Chris Roberts but there are you know there are other project where the music sometimes not regarded as something essential or something like yeah I just do something because people don't care so just I think this this open crowdfunded uh being open and people hearing step by step we can see how much good audio and
00:39:18
Good Music Matters and everything that you do makes makes stuff look better I think it's not all about graphics and 3D cards absolutely absolutely uh elf and speaking to that elf whenn asks what is the state of sound occlusion in the game you know like uh muting sounds when you go behind walls can you talk to a little bit about that Ross sound collusion is a tricky one um it's something that uh that bothers us we want to get working it it makes such a big difference the uh the native inclusion with the cry engine uh isn't particularly powerful so something we we hope to address it's um yeah it's a system that really makes or breaks certain aspects of games and uh game like ours obviously we got these confined spaceships and stuff like that
00:40:06
you really you don't want to hear sounds bleeding through so we're working on it we're aware of it okay uh Captain cough Captain cough Captain cough says Captain asks will the music in the Pu be switchable by a sort of radio stations to change between genres kind of like at the beginning of the cutless commercial when you see uh the pilot switching between radio stations are there any plans to have radio in Star Citizen there's it's it's not something not something that we haven't considered that's a lot of negatives it's something we have considered that's easier there you go um yeah I mean it's um it feels like there's room for it at the moment
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uh what's important to us is just starting to learn how people play the game and you know because quite often whenever you get some kind of open game people start thinking about radio stations and stuff like that they're thinking of GTA and stuff but um you need the space for people to enjoy it GTA has those great big long car Journeys and stuff it seems like we have the kind of game where you could it'd be quite nice to be cruising along in your space cruiser check a few tracks on for your friends while you're in the journey so yeah we're we're looking into and we're thinking about it I can't I don't think I can really say a lot more than that at the moment yeah Paul a traes asks in regards to the soundtrack that will be sold will the CD or files being mastered be uncompressed and have dynamic range or remain more
00:41:45
compressed and normalized as we often see in Han Zimmer soundtracks oh throwing some shade throwing some shade at Han Zimmer there oh girl Paul show us show us on the doll where Han Zimmer touched you he's getting shady I I think I I I think you know I think this could be a good moment but maybe we're safe to to to end of the show that small sneak peek we have that's a music has a lot of dynamic range so so I really think the dynamic range is there um we didn't lose it um and I because it's already done and we already it's already mastered so yeah we can say that right M actually to to that end uh just because I I was scared I'm going to forget just wanted to to mention um Darren Lamor here from the uh UK audio team he's been over to um to
00:42:35
Munich to work with uh Kristoff stickle and they've been uh mastering Pedro's music and that mastering process that's what really pulls out the those last extra juice from that dynamic range and they did an amazing job over there which I'm sure Pedro will agree yeah yeah it's great I I just I just heard it all it sounds sounds really great really great so good and and and it did as as as as he was saying very well he didn't lose the dynamic range there are some some of the tracks are more hybrid so they are a bit a little bit more into the max of course it's normal because they're but uh most of them have a lot of 10 range I'm I'm really happy about it seriously really happy about it uh voon has another question he says Pedro what vsts do you use for your Orchestra work East West 8do vssl
00:43:26
Spitfire Auto audio Sinister strings these are real things these aren't real things these are real things Yeah well yeah well for for the for the well the vstc is is the contact Library that's what which I use the contact uh sampler but the libraries he was mentioning the libraries that I use in contact uh yeah well well East West has play which is another vstd they are all you know they are all great developers and you know the thing about samples is that and and the more you work with samples you will get to that uh conclusion special orchestral samples is that there are no best choices uh and unlike when you work with a real
00:44:15
Orchestra which you can actually write uh for what a human can do which is for me the best thing you can do when you have a sample Orchestra you have to run to what the Library can do you should never try to make a um a Medi markup uh trying to push the the limits of the library into an area that it was never kind of designed or recorded or whatever it doesn't sound good when you when you do it so it has happened to me sometimes also in some of the music that we use in in in Star seon as well that's why meanwhile I SED my own orchest so I do have all all the all the libraries that he mentioned from atto vsl Spitfire uh at at already spoke about
00:45:04
vsl Spitfire um East West as well they're all great but that but they all have in limitation this why I sample my own Orchestra like two years ago and to have a bit more freedom still it's not perfect not just just not like the real Orchestra you you really need it to get the full expression in my opinion so but so what I want to tell because I can tell he probably is a composer or or wants to be a composer or just enjoys doing music with with that I will always tell uh just write what is comfortable for the library imagine the library someone that is a little bit handicapped you should never make a handicapped people run like a thousand miles like you know it's just never work you'll
00:45:54
never run it so so just just limit your limit your um your your composition to what the library can do which is kind of can be a bit frustrating sometimes but it's but sometimes it's better to do that and make a markup that sounds really weird and strange with something that Library can't do so uh I do have to say that also he should add up to that list orchestral tools as well which has do been doing some great job as well and what I would say is that it's always good to focus on on on a on a library has a that's a complete oras recorded in the same hole that's what I like I like orchestras are recorded in a certain hole so you can have not only the
00:46:41
orchestra but the whole sound uh vssl in that aspect it's all recorded really dry and up closed and you have to use a lot of reverbs it kind of works but it's never the same thing I well at least for me there are some people that use use it and love it so what whatever works better for him it's that's that's what matters that's that's my my answer uh somebody was asking what kind of headphones are we using considering that you're both audio professionals uh dt770s what do you got it's just a AK akg's I think that's how we pronounce it AK AKG so um I have sisers I I like these but it's Al I've used these for my entire professional
00:47:30
career and I just feel now if I changed yes I'm just I'm an old dog yeah I'm kind I'm kind of like Ross it's a it's it's it Al I feel I feel it's I also always used AKG since I don't know why I just like the the brand but has nothing to do with the brand the thing is you should have a reference uh equipment that you like to use that is minimally good that you minimally nral and where you hear all the soundtracks that you enjoy really like all the great soundtra you really enjoy and memorize the sound that you get from those headphones and then try to get to that sound with the reference so it's it's all a relative like like the principle of Relativity so it's all the same so of course if it can
00:48:20
reproduced to base there's something he shouldn't uh forget it's it's not not all about the headphones a lot of it is about the um the preamps that feed the audio into headphones that really at least for me this always made a a big difference nowadays not so much but you should have a professional level audio card otherwise the converters will just send crap to the headphone no matter what headphones you have so always be you don't need the the most expensive stuff but you know minimally minimally good stuff not not integrated onto the motherboard yeah well well nowadays everything has been improving so much I'm really I could be speaking uh like an ignorant but I do have something of course outside the motherboard really
00:49:07
large over there so it's really different and it sounds really great and and I and I actually did a uh comparisons and it's really it sounds like really different really the same headphones sound completely different gotta uh nasty head wound asks all hope you get better nasty nasty head asks any plans for 2946 flavored pop rock Style music now I asked this one because Ross you you you've worked on our uh our ballot of big Benny's theme which sort of fits in with that uh we haven't released the full track just yet we're still collecting video footage by the way guys in official announcements on our forums there's a thread big Benny's needs your help we're still collecting footage we are like 75% of the way done we just need a little more
00:49:56
footage and uh we'll release the full ballot of big Benny's but uh what can you talk about the possibility of creating pop rock styled music for game yeah could I mean big Benny's was people love it so much it it is quite in does inspire me want to do more that that ridiculous little song came from it it went from something so I just went home one evening and uh I wrote like a a for about 15 minutes I wrote The Melody and then I got my wife to come in my wife wife Julia hello um I got her to come in and and she wrote some lyrics for it and sang them and then I took it to work like there we go I've made a little song uh and then people loved it so then I expanded out to this fulllength version that must have taken me like 60 hours I just I would once I knew I wanted to
00:50:45
make it perfect it went from no time at all to every evening just thinking what am I doing with my life 1:00 a.m. and I'm listening to Big Benny's again to make sure the clap sound right yeah it'll it it'll be it'll be a great time when we can when we get we release that uh that was that was fun I remember this I I think we had talked like once prior to this and I'm like hey Ross I'm I'm Jared I'm the community manager for Star Citizen and you don't probably have no idea who I am uh big Benes is really popular and I know you've got like this 30 second bit here uh do you think we expand it out to a to a full song you like and and and I was worried like you were you were going to come back and be like who the f is this and you're like and you were so game right from the goes yeah man this sounds awesome let's do it and I was like Ross is good people Ross is good my favorite
00:51:34
bit was when uh when you asked for there to be a creepy terrifying middle section yeah why not let's go do that yeah no when you guys get that when you guys get the get the uh the full track it starts off on like a Benny's carb High you know it's it's you're just eating more carbs more carbs getting higher higher higher and just like every High there's a crash and halfway through you crash and you go you go through the the the carb crash and and everything everything gets psychedelic and crazy and then the only way to get out of a crash is to take another hit so you take another hit and then you come back twice yeah twice as powerful as before and I asked for it and you nailed it perfectly so thank you so much synth guitar solo and everything yes um so let's see we take a couple more questions and then we have a special sneak preview that Pedro has put
00:52:23
together for us let's see uh hey Pedro uh killroy would like to know what living composers if any would you say Inspire or influence your work limit limited to 25 or less 25 yeah living composers living compos well there are actually a couple a couple uh classical composer inspir me a lot like Steve Reich I love that arv Bart love that one that's really really great music My Own position teacher which is EO kabo he's a really he's a absolutely fantastic composer speech I'm always speechful about about his music I I cried a lot of times listening to his work he's such a
00:53:10
phenomenal phenomenal composer really really um also of course John Williams is always that really big rock anybody doesn't John Williams is lying yeah of course John Wiz is great Zimmer I just love Zimmer Zimmer is just great he he has something that almost no other composer has I think he created a new style for the orchestra to play I think I think I think many composers wanted to do what Zimmer did but never had the guts do it like which is make the orchestra repeat a lot of patterns which is what made his music a bit bit bit pop popular and he did it in such a cool way that makes like the D sound like a rock band and that's awesome I I
00:54:00
just I just think he changed I even believe that he's he he uh he changed the way future also concert composers work uh because of that that's that's phenomenal that's phenomenal is so yeah so yeah those compos are probably the ones that really influenced me the most um yeah the those are the ones that really influenced me the most that the ones who are living that's those are the ones so not too many not too many uh we covered a little bit about this if you guys haven't seen it uh we have a a great two-part interview with Pedro on around the verse from earlier this year I can't remember what episode number but
00:54:49
if you want to if if you want to see a lot more of Pedro's history and his influences and stuff like that and and a little bit of how he works the way that he works uh be sure you check that out it's on it's on around the ver you know we'll uh we'll break that out we'll break that out and make it easier for people to find after this Justin's gonna love me for it hey Justin go find that thing he's working on tomorrow's ATV right now all right so we're almost at we're pretty much at the end now so let's go ahead and we have a special treat Pedro you want to set this up want to tell people what they're about to listen to oh yeah yeah it's actually uh a theme that we worked on WE because we we all work as I say like uh and and Lee was uh actually Lee vaner was actually the guy who which his a director which
00:55:38
actually um you know said I should finish the track I started it actually I started it that that that track when I saw the my people to Planet which we didn't ended up not using there and and Lee said oh no this is this is good stuff we should use it on uh when entering uh for a for a special planet and when when visiting approaching slash visiting a a special Planet like for the first time um and so I finished this the track and I I actually love it so so so that's it so I called I called it my Planet so it's U Pedro's Planet it's I like so in the course of this interview you've gone from a villa to a town and now you have a planet yeah he got a race all right now we're not going to play
00:56:27
the entire thing we're just going to play uh we're just going to play a short 30 second uh snippet so you get you get the full thing in the soundtrack hope you like it hope hope so all right let's let's check out uh my Planet by Pedro kamacho oh no it's on Loop got to turn that Loop
00:57:30
off just wants to play again all right so that was actually 43 seconds Pedro cut that he said 30 seconds when he gave us 43 Pedro's a giver Pedro's a giver so uh so that was that was 43 seconds of my planet was that the beginning of the track the middle of the track what is that yeah it's kind of middle middle of the track and you said that's the kind of thing that would that might play when the player approaches a a of special significance yeah that's that's what uh so when when when I want the music like kind of fade in that's at least what I have in mind we're still working on it once we have the system to actually enter a planet with the full procedural which is already done the tech is already done but we need to to polish it to make it um to make it um to make it
00:58:20
like playable I can't wait to actually I can't wait to have that I really want to play that so one of the sorry still lots more work to do on predal planets guys don't don't run away from here saying Pedro said planets procedural planets is done it's like the only thing I saw because yeah sorry the only thing I have access to is the videos that everyone saw so I haven't seen anything else finished but but but I was I was so excited about it like everyone was I loved it I really can't wait to try it but one of the things I have in mind is it will be really cool if there was a like a special Serene planet that we we're going to land that music kind of Fades in and we and we hear it as we approach it I don't think that will be quite nice moment I think I hope absolutely
00:59:09
absolutely yep folks the comments have caught up now so yes people are saying encore encore play it again we'll play it again as we leave uh but guys uh that's it for the show you made it an hour uh um sorry Lee couldn't join us uh uh Le Bard was was going to join us but he he he fell ill at the last minute so Lee we hope you uh you get better and that we uh we represented your work well uh Ross thanks for taking the time I I know what time is it there it's like it's 8 o'clock now uh yeah 8 o'clock so thank thanks for staying late you know to to be on the show no problem um you know it's uh one thing I can always say about the Fant 42 UK team they're they're always game to to help out so it's when we when we were having the idea you know every month we're like who are we going to get this month who are get this month we were in a meeting and
00:59:57
I'm like dude I can we can get the the the the audio guys cuz they're always game to help out so we appreciate it a lot so thank you so much for taking yeah that too and uh um did you guys ever get those jackets you were going to get the audio jack the UK audio jackets uh we did I think I joined the company just after we got them so I don't have one all right well if they ever do a second run of them I want one uh all right pedo uh you're in the same times on thank you for staying up so late to chat with us pleasure is mine really it a pleasure really always a pleasure and a it's a great it's a actually it's a great great team we have here it's really great it's always very supportive very it's not it's not just for the show off people usually think oh they always smiling
01:00:46
because they are on camera and live it's not not not that at all it's we actually a really good sport and really nice guys and uh actually really great team to work with with and so and and I think that I think that's why my music may have I don't know I feel I kind of improved a little bit also because it's all about relation you know music is a consequence of how you feel if you were in a bad environment music I don't know you can feel it if you feel it if you feel okay with the music should mean something is going well and that's because of the team is going well and that's a good thing that's why SAR is so great I think it's uh uh you know we have in command of the ship or the Ora Chris Roberts and we haul all of us in everywhere I I I don't know everyone of course we are so many right now but
01:01:34
everyone I spoke with is really really nice guys and there no faking here it's really really cool stuff they like to work in the game like to do the game you want to get the thing done and uh we are so passionate about it I'm faking it no you're not no if anything I I I fake the mean part cuz I think it's but all right guys thank you so much again Pedro thank you thank you uh guys the the star Sy soundtrack is is in production uh now they're they're mastering it they're they're working on it no ETA yet but it it's it's in process um they just had me doing the artwork for the for the jewel case a couple weeks ago so you know it it's it's it's come together um for the big for the ballot of big Benny's uh submit
01:02:22
your big Benny's videos on the forums we're almost there we just need a couple more videos to to to flesh out the last 30 seconds of the of the video and uh soon the full three and a half minute long ballot of big Benes will be yours created by Russ trenza and his and his lovely wife Julie do you remember that Julia Julia so thanks a lot guys uh this is the April subscriber Edition reverse the verse tune in tomorrow for our regularly scheduled round the verse got a ship shape for The Herald and the return of witch glitch and on Friday the regularly scheduled normal non-subscriber Edition reverse the verse with a special guest my dad yeah my dad's coming to work it's going to be terrible all right guys thanks L see you see you around the vers everybody thank you so much see you guys

Transcript from YouTube’s automatic captions — punctuation and Star Citizen jargon are approximate. The video itself is hosted by CIG on the official channel.