![]() ![]() Mechanically, the game is often in somewhat of a stasis, so too much musical motion would have disrupted that energy. JC: The visuals are so detailed and the experience is so rich and emotionally charged that something melodic or thematic wouldn’t have been right for Gorogoa. How was creating music for a game designed as a storybook with such unique visual design, different from other projects you’ve worked on? I think of the mood of the story, characters, and setting along with the mindset of the player and create something that brings me there. For me, composing for games is all about finding what’s right for the tone of the experience. JC: That’s my favorite thing about my career so far – style and genre can be really constricting so I tend to focus more on the overall sensibility of approaching music like design. You’ve worked on games from a variety of genres, how do you compose your music to match the different styles of gameplay? And even if Dark Souls is over, I’d still love to work with FromSoftware someday. JC: I’d love to work on Destiny or Final Fantasy. Is there a franchise that you would love to be a part of that you haven’t worked on so far? Recording a choir at Abbey road for The Tomorrow Children was up there too. The the whole experience made me feel like I’d found my home. JC: I’ll never forget recording strings for The Unfinished Swan, my first game score. What would you say has been the highlight of your career so far? My first professional gig writing music was doing commercials right after college. So, in high school, I saved up to buy a synthesizer and drum machine and some sequencing software, experimented with my first music and was totally hooked on the process – I knew I wanted to figure out a way to make a living in the studio. Growing up, I realized a lot of my favorite artists were those who used the whole studio to fulfill their musical vision. JC: I used to make these ridiculous “radio shows” with a tape recorder when I was 6, so I’ve always had a love of recording. Tell us how you first ventured into writing music? Hi Joel, firstly, thanks for joining us on the site, it’s great to speak with you! After graduating with honors, he worked at an established music house in Chicago before starting my personal audio brand & studio, Waveplant. Years of piano and classical guitar lessons followed, leading him to study Technology in Music Related Arts at the Oberlin Conservatory of Music, where he focused on experimental synthesis and music for interactive installations.Īt Oberlin, he trained on a Buchla modular system, which helped develop a fusion of classical synthesis and unconventional audio design – all supported with a background in classical theory. Sam Hughes speaks with composer, Joel Corelitz about his career so far, his work on the puzzle game, Gorogoa and more! Joel began his composition career at the age of five, recording found sounds and creating tunes with a classic Fisher Price 826 Cassette Recorder. ![]()
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