Shroud of the Avatar Soundtrack: Difference between revisions
Tracks from Update 99 |
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==Praise== | ==Praise== | ||
:''For SotA, I have had my heart set on finding music that hearkened back to the golden age of our work on the Ultima series. For me, the music composed by Iolo and Ken Arnold remains the best music of the series. Not that we have not had great composers since… we have. But there was something compelling about the simple memorable melodies, that most modern games lose in their hugely orchestrated scores (very much like movie scores). While I hoped we could have fuller music, I hoped we could reign in the desire to go overly large, and provide players with tracks that not only felt right for the area and happenings within the game, but were also both memorable, yet not annoyingly repetitious. I knew going into it, this would be difficult.<br><br>To be honest, when we first faced the problem of musical compositions for SotA, I was lost. We got bids from a number of composition houses, that both far exceeded the budget we had available for this crowd funded game, but also, and perhaps more importantly, their demos were far from the soundscape target I was hoping to achieve in SotA. We were stuck. We tried buying music off websites that had affordable music on them, but even after enormous amounts of searching, I found little that felt right. We started down that path though because of budget reasons, never feeling quite right about it.<br><br>Then YOU, our wonderful community, stepped up. People asked why they could not submit music tracks for inclusion. My initial thoughts, and even my first response to proposals, was lukewarm at best. Early offerings from the community were far from the mark I was hoping for. While they were often great pieces of music, they generally were either too modern, too orchestral, to much like a movie score, did not sound period enough, or were well off target for some other reason. I did not believe this was going to work.<br><br>Then Holt Ironfell of the Poets Circle contacted me and asked a simple question: “Please tell us, exactly what you ARE looking for.” Only at that moment, did I realize what a disservice I had been doing the community. I quickly made copious notes to clearly articulate what I felt was, and was not, music I would hope to find for SotA. The Poets Circle (and others) then went off, formed their own councils for peer review, and raised money when needed to acquire equipment and software. Then a few short months later, the community started to submit new work.<br><br>I was literally moved to tears, to hear what amazing work this community, all of you, have been able to produce. In a few short weeks, we went from ZERO accepted pieces of work, to about 100%! While for some of the MOST complex work involving Virtues and pieces that must play together, we have had vigorous exchange to “get it right”, the VAST majority of work now done by the fine Poets Circle and many other members of the community, deserve GREAT acclaim.<br><br>By the Virtues!<br>- Lord British''<ref name="uota98">[[Richard Garriott]], [[Update of the Avatar]] #98, https://www.shroudoftheavatar.com/?p=45724</ref> | :''For SotA, I have had my heart set on finding music that hearkened back to the golden age of our work on the Ultima series. For me, the music composed by Iolo and Ken Arnold remains the best music of the series. Not that we have not had great composers since… we have. But there was something compelling about the simple memorable melodies, that most modern games lose in their hugely orchestrated scores (very much like movie scores). While I hoped we could have fuller music, I hoped we could reign in the desire to go overly large, and provide players with tracks that not only felt right for the area and happenings within the game, but were also both memorable, yet not annoyingly repetitious. I knew going into it, this would be difficult.<br><br>To be honest, when we first faced the problem of musical compositions for SotA, I was lost. We got bids from a number of composition houses, that both far exceeded the budget we had available for this crowd funded game, but also, and perhaps more importantly, their demos were far from the soundscape target I was hoping to achieve in SotA. We were stuck. We tried buying music off websites that had affordable music on them, but even after enormous amounts of searching, I found little that felt right. We started down that path though because of budget reasons, never feeling quite right about it.<br><br>Then YOU, our wonderful community, stepped up. People asked why they could not submit music tracks for inclusion. My initial thoughts, and even my first response to proposals, was lukewarm at best. Early offerings from the community were far from the mark I was hoping for. While they were often great pieces of music, they generally were either too modern, too orchestral, to much like a movie score, did not sound period enough, or were well off target for some other reason. I did not believe this was going to work.<br><br>Then Holt Ironfell of the Poets Circle contacted me and asked a simple question: “Please tell us, exactly what you ARE looking for.” Only at that moment, did I realize what a disservice I had been doing the community. I quickly made copious notes to clearly articulate what I felt was, and was not, music I would hope to find for SotA. The Poets Circle (and others) then went off, formed their own councils for peer review, and raised money when needed to acquire equipment and software. Then a few short months later, the community started to submit new work.<br><br>I was literally moved to tears, to hear what amazing work this community, all of you, have been able to produce. In a few short weeks, we went from ZERO accepted pieces of work, to about 100%! While for some of the MOST complex work involving Virtues and pieces that must play together, we have had vigorous exchange to “get it right”, the VAST majority of work now done by the fine Poets Circle and many other members of the community, deserve GREAT acclaim.<br><br>By the Virtues!<br>- Lord British''<ref name="uota98">[[Richard Garriott]], [[Update of the Avatar]] #98, https://www.shroudoftheavatar.com/?p=45724</ref> | ||
<br> | |||
:''I am overwhelmed by the creativity and quality of music created for Shroud of the Avatar by YOU, our amazing community!<br>- Lord British''<ref name="uota99">[[Richard Garriott]], [[Update of the Avatar]] #99, https://www.shroudoftheavatar.com/?p=45843</ref> | :''I am overwhelmed by the creativity and quality of music created for Shroud of the Avatar by YOU, our amazing community!<br>- Lord British''<ref name="uota99">[[Richard Garriott]], [[Update of the Avatar]] #99, https://www.shroudoftheavatar.com/?p=45843</ref> | ||
Revision as of 17:11, 18 November 2014
Template:Infobox RewardItem Backers at the Virtual Collector tier and above can download a digital version of the Shroud of the Avatar Soundtrack. Backers at the Explorer tier receive the soundtrack on physical media.
Track List
Beautiful Meadow
by Jarrod Kailef
This is a fine example of the primary goal I set for the musical environment of SotA. To me it has all the qualities I sought: First it matches the scene description very well “Beautiful Meadow”. It is both atmospheric and melodic without annoying repetition. It is not overly orchestrated, and sounds like something of the world. While not purely period instruments, it does not take you out of the period feel. Lovely![1]
Dark Alien Magical Warping
by Sir Wombat
Tackling the dungeon, and other more unusual environments, was always a weak point back in the Ultima days. Previous works were environmental but rarely melodic. Sir Wombat does a great job with this piece to accomplish the goal of building a more environmental and disquieting piece, without losing the melodic values we seek.[1]
Elven Truth Seekers
by tinottt aka Faustino Sanchez II
Those familiar with the SotA backstory represented in Blade of the Avatar, know that the Elves of our world were created by the Obsidian Kabal as powerful combat troops for their attempt to dominate the world. Yet on SotA, you will meet the Vertas Elves, who (like Star Trek Vulcans vs their Romulan ancestors) have given up their warlike past and become peaceful truth seekers. This piece captures that perfectly![1]
Foundation & Strength
by Richard Daskas
Richard captured perfectly the confidence of the city builders of New Britannia, coming back from the brink after the fall of the moons and the obsidian cause. The hope, the power and confidence show through in this masterful, properly balanced piece.[1]
Dance of Fauns / Hidden City
by Grandmaster Bard Holt Ironfell
From the master bard himself, has come many tunes you will hear going forward. But this early piece remains a favorite. The fauns of New Britannia, live lives of enslavement, yet, when they occasionally are free of the domination of their wretched Satyr masters, they frolic in the meadows and joyfully celebrate the world and possibilities. How they can remain so positive deep in their souls proves the real value of this race.[1]
Kobold Industry
by Jarrod Kailef
Another masterful piece from Jarrod Kailef, perfectly captures the sound environment we are looking for when players discover the cleaver constructions of the Kobold race. Humans in our world owe a lot to the industry and intelligence of the Kobolds.[2]
Loss of Honor
by Douglas Yassen
Douglass Yassen created this wonderful piece which will be found in one of the ruins of ancient Britannia. Sad indeed that the virtues have been forsaken. The loss of Honor is but one of the deep tragedies of the new world.[2]
Mysterious Cavern
by Peter Boiko
Peter Boiko has crafted a great track here that nicely blends the environmental ambiance we are looking for in mysterious caverns, while also having a captivating and mysterious melody![2]
Over Hill and Round the Mountain
by Richard Daskas
Richard Daskas perfectly captured this exploration and discovery piece which players will hear as they explore new Britannia. The sun is shining and the world is growing in wonder, what will we find round the next bend or over that far hill?[2]
The Garden of Sorrow
by Faustino Sanchez II
Faustino Sanchez II’s garden of Sorrow will sound perfect in the Necropolis, while players explore this underworld meeting it undead gods and unrestful spirits.[2]
Praise
- For SotA, I have had my heart set on finding music that hearkened back to the golden age of our work on the Ultima series. For me, the music composed by Iolo and Ken Arnold remains the best music of the series. Not that we have not had great composers since… we have. But there was something compelling about the simple memorable melodies, that most modern games lose in their hugely orchestrated scores (very much like movie scores). While I hoped we could have fuller music, I hoped we could reign in the desire to go overly large, and provide players with tracks that not only felt right for the area and happenings within the game, but were also both memorable, yet not annoyingly repetitious. I knew going into it, this would be difficult.
To be honest, when we first faced the problem of musical compositions for SotA, I was lost. We got bids from a number of composition houses, that both far exceeded the budget we had available for this crowd funded game, but also, and perhaps more importantly, their demos were far from the soundscape target I was hoping to achieve in SotA. We were stuck. We tried buying music off websites that had affordable music on them, but even after enormous amounts of searching, I found little that felt right. We started down that path though because of budget reasons, never feeling quite right about it.
Then YOU, our wonderful community, stepped up. People asked why they could not submit music tracks for inclusion. My initial thoughts, and even my first response to proposals, was lukewarm at best. Early offerings from the community were far from the mark I was hoping for. While they were often great pieces of music, they generally were either too modern, too orchestral, to much like a movie score, did not sound period enough, or were well off target for some other reason. I did not believe this was going to work.
Then Holt Ironfell of the Poets Circle contacted me and asked a simple question: “Please tell us, exactly what you ARE looking for.” Only at that moment, did I realize what a disservice I had been doing the community. I quickly made copious notes to clearly articulate what I felt was, and was not, music I would hope to find for SotA. The Poets Circle (and others) then went off, formed their own councils for peer review, and raised money when needed to acquire equipment and software. Then a few short months later, the community started to submit new work.
I was literally moved to tears, to hear what amazing work this community, all of you, have been able to produce. In a few short weeks, we went from ZERO accepted pieces of work, to about 100%! While for some of the MOST complex work involving Virtues and pieces that must play together, we have had vigorous exchange to “get it right”, the VAST majority of work now done by the fine Poets Circle and many other members of the community, deserve GREAT acclaim.
By the Virtues!
- Lord British[1]
- I am overwhelmed by the creativity and quality of music created for Shroud of the Avatar by YOU, our amazing community!
- Lord British[2]