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Laserschwert

Orchestral score?

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It definitely needs to be able to transition and preserve the midi music.

DOTT has a very unique and awesome style of music.

It's very elaborate too. The music during all of the cutscenes was made into several different parts that would play longer or shorter depending on how fast the subtitles were. If you made them really slow it would repeat certain parts of the music until you got to a certain part of the dialog/cutscene. You can also see this if you grab the ScummVM window and hold it in place. The game will pause but the music will keep going so it will eventually just repeat one little part of the music until you get to the next part.

Sometimes it's more simple but sometimes it's pretty elaborate.

This was also present (and possibly even more elaborate) in MI2

One particularly clever thing I noticed is when Dr. Fred tells Bernard "Step 1: Find plans! Step 2: Save world! Step 3: Get out of my house!"

For each step the music loop would increase in pitch a bit. They could'vemade it all into one part but they went the extra mile.

All of that effort just because the player could adjust the subtitle speed.

What I'm wondering now is whether they'll keep this for the remake or if all of the cutscenes will have a fixed pace that goes by the duration of the speech. Probably the latter.

I expect the latter, too, which I think is an appropriate compromise in this case.

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I expect the latter, too, which I think is an appropriate compromise in this case.

Yeah. The original didn't have voice acting in some versions so they needed subtitles. But today, who's gonna play with just the subtitles?

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Yep, flowing with the speech seems the most logical course for a modern game. And the subtitles will go along with the speech, presumably.

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In any case, there's no need to record the first part of the initial cutscene.

Plenty of Rossini's William Tell overture renditions out there. :)

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The biggest issue I had with MI2:SE's "iMuse" representation was that, for example in Woodtick, themes would not fade into each other but switch abruptly instead. Like going from the Inn screen to inside Largo's room. There should have been a crossfade between lead instruments, but it just switches abruptly. An equivalent in DOTT would be where when Bernard is walking around the mansion a hi hat starts playing, and when he stops walking the hi-hat fades away until he starts walking again. I'd hope DF wouldn't make the same mistake that LA did in MI2:SE and just stop or start the hi-hat abruptly which wouldn't be very seamless and would be very transparent.

The other thing they royally screwed up was the classic MT-32 soundtrack with not all tracks playing the proper instruments.

Still, the fact that they tried and put that much effort into it at all is admirable.

The problem here is that Game Developers just DON'T pay attention to sound anymore and tie it to the lowest resource possible, ever since graphics became the go to thing, sound design and tricks with Audio have just become one of the last things to focus on. I can only think of very few developers who have put effort into dynamic multi-track layers.

Woodtick could be done if each track was actually broken down and mixed dynamically instead, no crossfading of the main parts that are re-used through each variations but instead fading out the drums that get added in one section, fading in the flute that gets added in another, etc, the tech IS there for it, hell, even licence free as Multi OGG's (.mogg), it just requires that extra bit of effort and power in an area that sadly isn't a focus anymore.

To give a modern example of it being used, look at Grand Theft Auto V, specifically one of my favorite dynamic tracks in the game being the flying music, the score for Grand Theft Auto V uses multi tracks and is mixed by the game dynamically, in this instance, depending on where the player is flying on the map, instruments will get added into the mix or removed, downtown will have the horns creeping in, moving over the hood/urban areas will have the shakers come in louder, etc. And of course because the tracks can be extracted, people have done their own fan edits of the music:

And here's how it sounds when mixed by DJ Shadows for the official soundtrack:

That's using the same strands as the flying music above, and here is the track mixed in to a mission for the game (Warning, strong language, etc, etc, it's GTA):

The game is full of dynamic tracks being used and it's the only big game I can think of that has done it in recent years. Again, sadly people don't pay attention to sound anymore unlike the 80s and 90s where sound in video games was pushed to compensate for graphics, most people are just happy with cross fading entire tracks now to keep overheads low and sound usage at a minimum, but the techniques ARE there to be used if developers wanted to do so, just depends if the trade off with the extra time needed is worth it compared to the amount of people who would even notice it.

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What gets me the most is that they said they put so much time and effort into perfecting the iMuse system replication and they stated that they succeeded.

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I absolutely think they succeeded - with some reasonable compromises. There were a few misses (and a few bugs on the earliest releases which were later fixed), but as a musician I would have been proud of accomplishing as much as they did, given the complexity of the task and what must have been a very small budget. I imagined that they would have to ditch pretty much all of iMuse, but what they came up with works in almost all cases.

There are definitely a few things I personally would have done differently, but only because there are musical cues in there that are particularly important to me personally and I would have paid extra attention to them.

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