FALLOUT NEW VEGAS MOJAVE RADIO FULL
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Also, there were a number of pieces of music from each game in the Fallout series that fit the direction we wanted to take the music for this game. Early on, we gave Inon a number of directives, pushing him toward a few influences that we wanted to see in the project - including Jonny GreenwoodвЂ™s score for the film There Will Be Blood. With this, we began the process of iteration that defined the musical style for New Vegas. The ambient music should be very spacious and open - We may experiment with layering percussion over the ambient pieces for battles.

The scripted music should be the most similar to your work from Fallout 3 but with more of the southwestern influence.

The licensed music will focus on the Rat Pack era in Vegas.

Licensed tracks, Ambient Music, and Scripted Music. We envision there being three types of music in the game.

Experiment with smaller String Ensembles like quartets where you hear a lot of the rosin on the strings.

The instrumentation should focus on Western/Folk instruments mixed with more Modern, Industrial, Found-Sounds and Gritty Synthesis.

We also like the spaciousness of Mark MorganвЂ™s piece, Redding, from Fallout 2.

To start with, your Megaton piece from Fallout 3 is along the lines of what we are going for.

Open, Spacious, Raw, Lonesome, Cowboy, Rattlesnake, Desert, Wind, Heat, Rust, Steel, Dirt, Grit To sum it up in one phrase: Southwest in the Future

In our first email to Inon, we set out these goals: I sat down with Josh Sawyer, our project director, and we decided on some goals for the project. Once we had decided to go with Inon for the project, we started to brainstorm ideas of what type of music would best fit the Southwestern feel we were taking for New Vegas. He is a very diverse composer and we felt that he would be able to achieve our goals for this game. We came to the conclusion that Inon Zur was the perfect person to do this. In New Vegas, we wanted to attempt to homogenize all of the varying influences while bringing something new to the table that was specific to this game. The musical direction in each of the previous Fallout installments was quite different. I will take you through how we approached everything from Preproduction, to Production, and Finalizing. The process of putting together this system took well over a year and had many phases. The dungeon music transitions smoothly between exploration, tense moments, and when the player is in the midst of combat, while the whole system is reactive to the relationship the player has with the factions in the area.ДЄll of this together achieves a smooth, scored musical experience that reacts to the playerвЂ™s choices in the game. The end result is a music system that flows seamlessly from the randomly generated ambient music in the empty wasteland to the layered, location based music in the towns. We ultimately decided that a location-based, adaptive and reactive music system would be the best way to alleviate the problem. In such a large world with so many hours spent roaming the wasteland, it would be easy for the music to get repetitive.

FALLOUT NEW VEGAS MOJAVE RADIO FULL

To this end, Inon brought everything full circle in Fallout: New Vegas with a masterful score that perfectly fit the environment. We wanted to pay homage to the history of the series and draw a line between Mark Morgan's musical style from Fallout 1 and 2 and Inon Zur's musical direction from Fallout 3. In order to do this, the music had to match the atmosphere of the world to a T. My goal for Fallout: New Vegas was to make sure the music fit in seamlessly with this soundscape and would help to subconsciously guide the player through their 100+ hour experience. From the long-decayed, echoing gunshots to the dense, layered ambiences, these are the sounds that pull the player further into the post-apocalyptic world of the Mojave Wasteland. Atmosphere is the key ingredient in the Fallout: New Vegas soundscape.

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