Interview with composer of the Cossacks 3 Yaroslav Odrin

Date of publish: 06/05/2016 23:34 CET


 

 

 
Yaroslav Odrin “In” The Cossacks 3 “stored musical tradition”
 
 
As we well know, in the GSC each of its gaming project tried to give a high quality musical personality. Strategy – is no exception. Each license of the “Cossacks” was a composer. The third game also wrote the music for the new series of people, but with an impressive experience – Yaroslav Odrin. I spoke with Ukrainian composer of works, work on the soundtrack for “Cossacks 3” and learned many interesting things. And now you know.
 
 
Hello, Jaroslav!
 
The work on the soundtrack for “Cossacks 3” – your first experience in the field of computer games?
 
Yes.
 
 
Tell us about your familiarity with GSC Game World and the beginning of cooperation. How did this happen?
 
We have long been familiar with Mary Grigorovich-Bass (Eugene Grigorovich’s wife). We did, in cooperation more than one project. Here it is me and led GSC.
 
 
In the past, the first “Cossacks” wrote Andrew Prishchenko music for “Cossacks 2” – Alexey Omelchuk. Before proceeding to the “Cossacks 3”, you are familiar with the work of their predecessors? You consider them for yourself, or trying to create something new and more personalized?
 
Both. With music, of course, familiar. At one time even took out tiresome Public VKontakte, asking where to find everything, absolutely all the music to the previous “Cossack”? While one kind soul advised me not the easiest option: pull music from the folder with the content of the game. Long laughed, what I have such a logical way he has thought 🙂 In the end, some difficulties there still appeared, but not the point. I have great respect for the experience of their predecessors. Especially knowing all the technical difficulties that they had to overcome at a time when they were working on the first series of games. virtual simulation technology then was far less developed than it is today. We had to invent a lot of things that “it somehow sounded.” I took into account their experience, but indirectly. That is – I have come into some kind of story, already established before me, long-term, successful, having a clear vision, a unique flavor – a cult story, one word. Naturally, all this history it is this, as we know and love, thanks to all its components, and the music is definitely not the last. So I set myself the task to preserve all the “flavor” of the previous games, not to disturb this harmony, do not break tradition.
 
At the same time we made a joint decision that we do not follow the established canons literally. We decided not to take the former thematic material as a base, not to quote him and did not apply to him directly, and to perceive it only as a musical and ideological context preceding the current one. This is dictated by the fact that, as I said, Now the other technology, and we can afford much more than before. In this regard, we do not want to artificially drive themselves in a frame, it becomes hostage to past ideas.
 
 
Did you play in these strategies? 🙂
 
I am ashamed to admit it, but until such time as Evgeny Grigorovich own and not set to force the whole series on my computer – no, did not play. Gaming experience I have rather big, but “The Cossacks” somehow passed.
 
GSC has officially published a couple of your tracks, to nations in the “Cossacks 3”. What more will be the soundtrack? Will the main theme of the game and adaptive musical score (to adjust to the game situation)?
 
Many of these moments we are always discussed. Music for the game says a lot more than go down in the end. The main theme we have and even with options. But her presence in the final game, as well as the form of its presence, we still decide.
 
For each game the nation composed by a track. And they all have to be special, personal enough to topics not confused with each other. 
 
 

 

 
Coming up with a theme, where do you draw inspiration from? What helped you in this?
 
I addressed these issues in different ways, in each case, for each individual track. First, I had to give the most recognizable and clear markers of a nation. Secondly, to make it strongly, but intrusive. Third, write all of this distinctive variety to the overall image of the music game. Fourth, adapted to the modern perception, keeping the historical accuracy of the period of time a specific action game. In this way, there were difficulties, had to cheat. For example, in France accordion XVII century could not be determined. But the sound by connecting it (hidden, cautiously and covertly), I was able to strengthen the perception of the spirit of the French, as we are accustomed to perceive it. Accordingly, the approach and means of inspiration and guidance, and support materials, ideas, resources, techniques, tricks – all this is very different from track to track. Out of the total – many studied everything he could find on every nation. I was looking for and listening to a lot of different of authenticity, consulted with colleagues and native culture of the ethnic groups on which he worked. From the available course. Here Algerian natives I was not able to consult.
 
For example, the most significant and unexpected difficulties I am having with the music of Poland. It turned out so that the expense of intimacy and at the same time the identity of our cultures, I could not adequately involved in the work on the music. I carried two extremes: either turned something almost Ukrainian or something like polonaise, but to a deliberate parody. I was then very helpful friends, and together with our Polish colleagues we, I think, in the end it! They collected material for me, explained, “fed” an incredible amount of Polish music of all ages – in short, trying to teach me how to “think like a Pole”, in their own words.
 
I am a big opponent of quoting in all its manifestations. I believe that all of the material should be as copyright – for the “purity of the experiment ‘, that is … That’s why I immediately ruled out for yourself the easiest way to display those same national markers – namely, the use of any real motives, phrases, topics, folk songs, etc. At the same time, he sets himself the task to any of the tunes written by me would be able to “deceive” the very meticulous ethnographer, folklorist, if it would pass off as authentic tone of a nation in a specific historical period. And then to solve this problem, too, it was different. Here to take even those tracks that you are already familiar with.
 
“Sweden” – pure pastiche of all the thematic lines, and not so much under the melos of the country itself, as under the aura of the whole surrounding region. It was necessary to take into account the cross-cultural influences at the time and in the territory. And with the “Ukraine”, I allowed myself a few more strange thing. There’s still a kind of citation is present, but in a very peculiar. Topics of this track, as it were “made up” of such a “mosaic mikromotivnoy” by fractal method. That is, if you break any of the “Ukraine” on the components (A, B, C, etc.), then A – mikrointonatsiya a well-known folk songs, B – other well-known songs, C – the third. A and B together – already larger intonation, form a fragment motif of the fourth song, B, and C – the fifth, and C – the sixth, with the A B C – organized by the phrase still higher order allusions to another folk song. The whole structure is a multi-dimensional melodic and harmonic range of the principle of “structure in the structure” with cross repetitions and reflections of each other at different levels. To implement it, I had to create a large base of Ukrainian themes and motives, organize them into multiple tables, which I calculated all the interpenetration and folk melodies overflowing into each other.
 
Of course, for all listeners, this composer kitchen is irrelevant. Such forms of organization of musical material not recorded anyone’s mind, except the author. But the general perception of these things really affect. Subconsciously. Well, it would be a sin not to take advantage of the fact that their mother melos I know better than any other, so – I can afford to do it with something of such things interesting. And I just love to experiment. Even when it is not necessary. Therefore, all sorts of different gags and features are crammed with all my tracks in the game.
 
But if I can not stop – I have now will suffer in the long-boring stories about his “creative laboratory”, which is a very long time … :)
 
 

 

In general, for the soundtrack of “Cossacks 3” there is some definite concept? Can you describe what it is?
 
Are you sure you want this? .. :) I will try to be as brief. As a minimum, all the tracks are grown from one grain of intonation, which is exhibited in the main theme. I do love monothematicism as a phenomenon. Therefore, in addition to all other work on the tunes of the game, I gave them more, and to a common denominator, identifies the main theme. Naturally, there are still many, many different things, aimed at creating a common sound coloring games so that all tracks (if all individuality and national identity) form a whole piece of music on the “long distance”. With his dramatic, form, etc. This is also the structure of the structure, where each part is independent, but still just a part. And these structures are also repeated and reflect each other at different levels.
 
 

 

 
 
Do you use to record the soundtrack of “live” musical instruments? If so, what? A ready-made samples of professional libraries apply?
 
O, it’s very very long story … :) Describe your technical lab, I can spend hours!
 
Bottom line – if you can determine where the boundaries of live and computer, what tricks we go, making a living out of the synthesis, and vice versa – from mathematics alive?
 
About “zhive” there is no need to talk, then write and use all scheme has long been known. And about the samples – they are conventionally of two kinds. So-called “magnifying glass” ( “musical loops”, written by someone ready-made phrases, tune, rhythm, chords) and virtual simulation tools, consisting of millions of mikrosemplov where recorded sounds of live instruments at the level of the sound components, its layers, the individual transitions between these layers, etc. As for the “loops” then absolutely no, no and no again! As I said – I radically stand up for the purity and originality of the copyright material. This applies to the citation (as I refer here and various covers, remakes, remixes, transcription), so, of course, ready and (others) of various kinds of sound production. In this regard, I’m just not physically sterplyu something composed of at least two notes by someone other than me in my music.
 
With multisemplovyh instruments more difficult. Of course, we can not do without them, using a computer, as one member of almost any of the virtual instruments available to us (except the hard acoustic modeling, which in our time, is still far from ideal). But even in this case, I try to minimize factory tools such as my time permits and opportunities. Wherever possible, I try to do everything to make even the voices have been copyrighted. Independently I synthesize many of the sounds, writing scripts, apply all sorts of tricks and inventions, etc. etc.
 
 

 

What do you think, what place is given to the music in the game process “Cossacks 3”? At that it should and should not be affected?
 
Music – a powerful suggestive means able to lead in any process, not only in the game. Music acts on the deepest levels of the human psyche dealing with it directly. Music – like an iceberg, the tip of which is fixed consciousness, but the main sacrament occur much deeper than this perceived outside. In any syncretic project, the role of music – to convey exactly what can be passed between the lines, frames and pixels … In our case, the music should help the player immersed in those times, the culture, the battles that we represent him. Help feel everything up to odors. This maximum task.
 
 

 

How often do you have to “reset” the result or to make changes to get better?
 
Oh … very often. And reset. Some countries have written three times. And more often – Right … But the more interesting!
 
 

 

How do you cooperate with the GSC? Who are the company you are dealing mostly writing the soundtrack?
 
In fact, the composer explained what was wanted of him (so much so that he understood) – it is difficult. In music, we often encounter neformuliruemymi measurements, actually – it’s all of them is. Accordingly, it is necessary to operate neverbaliziruemymi categories to explain something. All this thankless job of training the composer to take on the Maria Grigorovich-Bass (chief sound engineer and music producer of the project), and heroically “carries his cross” :) Here with her and I talk often.
 

 

 
Actually, at what stage is your job today? Music is fully ready, or left something else to write?
 
Fully prepared is never ever anything … We know also that the director of the film to date, a student before the exam, the musicians before the concert – always missing one day. So, I think we did the night before we release something else to edit.
 

 

 
Do GSC plans to release the soundtrack of “Cossacks 3” separate disk in digital form or in the Collector’s Edition of the game?
 
The soundtrack will be available in the game. Also, we will publish it separately in the adapted version to listen to.
 

 

 
Your wishes to the players, who are waiting for “The Cossacks 3” and budding composers?
 
Players are willing to wait for the game and get pleasure from it – what is there more you can think of? A beginner composers? Yes, like all people of good will – to love music!

  

Source: Cossacks 3 Forum [source link | archived site]

Post Author: Peffy

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