of a lot of work. i say beeps and boops, but some of those early theme songs were pretty clever, giving the feeling of chords it s something that astounded a young matt rogers, who s now been asked to arrange a new version of the theme tune to this, the 1987 zx spectrum game, chronos. i did like the game, but i used to load the game more to listen to the music. i would be sitting with my ear to the spectrum. and the thing was when i came to arrange it, i already knew it inside out, because i have known it for a long time. 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,
a new version of the theme tune to this, the 1987 zx spectrum game, chronos. i did like the game, but i used to load the game more to listen to the music. i would be sitting with my ear to the spectrum. and the thing was when i came to arrange it, i already knew it inside out, because i have known it for a long time. 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 i is such a multifaceted job. you have to compose - for when nothing s going on. or when action is happening.
to listen to the music. i would be sitting with my ear to the spectrum. and the thing was when i came to arrange it, i already knew it inside out, because i have known it for a long time. 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 201i2, 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. or 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 talent that goes into even a 10 hour
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 or 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 talent that goes into even a 10 hour game, let alone a 50 or 100 hour game, it takes an awful lot of talent and hard work not just from composers but everyone who works on game audio and recognising it is really important. and that recognition is finally coming. next year, the grammys will feature a category for best videogame score soundtrack for the first time. overdu
of a lot of work. i say beeps and boops, but some of those early theme songs were pretty clever, giving the feeling of chords and multitrack audio even though computers could only create one sound at a time. it s something that astounded a young matt rogers, who s now been asked to arrange a new version of the theme tune to this, the 1987 zx spectrum game, chronos. i did like the game, but i used to load the game more to listen to the music. i would be sitting with my ear to the spectrum. and the thing was when i came to arrange it, i already knew it inside out, because i have known it for a long time. 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.