was juan rodriguez, a dominicano. mira eso, right from the start, we ve been here making this city great. now, i don t know what new york would be without latinos, but it sure as hell wouldn t smell as good, it wouldn t taste as good, and it definitely wouldn t sound as good. that s right, cause salsa music was invented here in new york, that s right. [vocalizing along to salsa music] you re welcome. i wanna retrace my steps from queens, where i grew up, all the way to the bright lights of broadway and show you how latinos have contributed to the culture of the greatest city on earf. that s right, i said earf. and you can t tell latino stories without plenty of good food, music, and dancing. so come on, let s go, let s go. come on. [upbeat music]
known it for a long time. | orchestra plays. matt s challenge was notjust to transplant the original arrangement to an orchestra, which, of course, wouldn t sound that great. no instead, he expanded it in length and in breadth. even the compositions of modern games like battlefield 2042 have to be interpretations, because these days, gaming scores aren t even linear pieces of music. every time you play, the music changes to follow the action. what s important to understand is that composing for a game is such a multifaceted job. you have to compose for when nothing s going on. you have to compose for when action is happening. you have to account for the fact that the player might do something unpredictable. the amount of music and the amount of talent that goes into even a ten hour game, let alone a 50 game orioo hourgame. it really, really takes an awful lot of talent and hard work, notjust from composers, but from everybody who works on game audio, and recognising that s really imp
orchestra plays. matt s challenge was notjust to transplant the original arrangement to an orchestra, which, of course, wouldn t sound that great. no instead, he expanded it in length and in breadth. even the compositions of modern games like battlefield 2042 have to be interpretations, because these days, gaming scores aren t even linear pieces of music. every time you play, the music changes to follow the action. what s important to understand is that composing for a game is such a multifaceted job. you have to compose for when nothing s going on. you have to compose for when action is happening. you have to account for the fact that the player might do something unpredictable. the amount of music and the amount of talent that goes into even a ten hour game, let alone a 50 game or 100 hour game. it really, really takes an awful lot of talent and hard work, notjust from composers, but from everybody who works on game audio, and recognising that s really important.
i did like the game, - but i used to load the game more to listen to the music. so i d be loading that game| and then sitting with my ear to the.to the spectrum. and that s. the thing was, when i came| to arrange it, i already knew it inside out because i ve known it for a long time. | orchestra plays. matt s challenge was notjust to transplant the original arrangement to an orchestra, which, of course, wouldn t sound that great. no instead, he expanded it in length and in breadth. even the compositions of modern games like battlefield 2042 have to be interpretations, because these days, gaming scores aren t even linear pieces of music. every time you play, the music changes to follow the action. what s important to understand is that composing for a game is such a multifaceted job. you have to compose for when nothing s going on. you have to compose for when action is happening. you have to account for the fact that the player might do something unpredictable. the amount of music
matt s challenge was notjust to transplant the original arrangement to an orchestra, which, of course, wouldn t sound that great. no instead, he expanded it in length and in breadth. even the compositions of modern games like battlefield 2042 have to be interpretations, because these days, gaming scores aren t even linear pieces of music. every time you play, the music changes to follow the action. what s important to understand is that composing for a game is such a multifaceted job. you have to compose for when nothing s going on. for when action is happening. you have to account for the fact that the player might do something unpredictable. the amount of music and the amount of talent that goes into even a ten hour game, let alone a 50 game orioo hourgame. it really, really takes an awful lot of talent and hard work, notjust from composers, but from everybody who works on game audio, and recognising that s really important. and that recognition