026 | Constructive Deconstruction[expand title=”Show Transcript”] 00:00 [Music] 00:01 hello welcome to composure cast episode 00:04 26 this week month this time you talk 00:09 about we talk about the Apple arcade we 00:11 talk about the Google stadia 00:14 you said is it called star D or stadia 00:17 and I made the point that there’s a Red 00:18 Hot Chili Peppers 00:19 album that is called stadia Arcadia and 00:22 it’s not called star dia Oh Katya is it 00:24 so well I don’t know maybe everyone’s 00:27 been saying it wrong I mean they do say 00:29 aluminum so knows so we talked 00:33 about that and our disappointment / you 00:36 know anticipation yeah see how it goes 00:38 how people could possibly how the 00:40 developers gonna make money how you 00:41 should make money as a composer so if 00:43 there’s any composers listening to this 00:45 I give my very vague thoughts on on 00:48 contracts yes and we we deconstructed a 00:52 track yes Zelda yes everyone loves elder 00:55 and everyone and it’s the it’s the 01:00 forest theme let’s call it that for now 01:02 yeah yeah it’s not big ewis yeah surname 01:05 name it’s just called forest forest 01:07 because they didn’t need to think of big 01:12 titles take up any room 01:17 anyway we deconstructed that from the 01:20 link to the past 01:22 Zelda sniff game cool and we also talked 01:25 a little bit about what we played this 01:26 month we do as we do as as we as is our 01:29 want our want and that spelled wo NT not 01:34 won’t one 01:42 this part of time in games this week 01:49 William I have played a lot of play for 01:52 us I always do 01:54 we played VR together we did a we played 01:57 that archery game that I went on about a 01:59 few weeks ago siege siege VR really good 02:02 yeah but like proper impressed just by 02:04 really simple things only a couple of 02:07 levels but you were waving your bloody 02:09 arrow around yeah and my euphemism and 02:13 being impressed by the lighting yeah and 02:16 you were waving your arrow around harder 02:19 to say than it sounds and you were 02:21 impressed by the sound design I was 02:23 because the way every time it’s real 02:26 it’s like as I said just simple things 02:28 just like and the fact that you know it 02:30 it one-to-one mimics your body movement 02:32 and hand movements and stuff so that was 02:34 nice they actually have an entire body 02:36 yeah looking next to you and you’re like 02:37 you can dance that’s about it oh you can 02:41 fire arrows into each other 02:42 you can’t yet when a little little 02:44 splatter of blood comes out and but the 02:46 game was really fun 02:46 I was really yeah I was really surprised 02:48 to how and it’s cheap chips may read you 02:51 know chips yeah $3.99 I think that one’s 02:55 sterling so yeah well worth it by but 02:58 that’s not what I’ve been playing well 03:00 is cuz it’s what my dad’s been playing 03:02 my dad every time my dad comes around 03:03 he’s plays like seeds for about two 03:05 hours last night fending his castle off 03:08 for have to talk to him or anything no I 03:09 just say dad you get him too close to 03:11 the boundaries he doesn’t he’s good with 03:14 that he understands in my room the 03:15 entire thing is boundaries now the only 03:17 thing like every time I draw the arrow 03:19 boundary I just had to play with 03:21 boundaries for my time is either that 03:24 elbow is too far back and hitting the 03:25 back wall or that arm is too far 03:26 forwards and it’s about to punch the 03:28 computer screen you need to relocate 03:30 William just my life everything yeah up 03:33 and move yep to Wales please 03:35 I wouldn’t know this you can be away for 03:37 a bit yeah although we can do this over 03:39 Skype yeah 03:40 no you just because you’ve got a living 03:42 room that’s nice and I know the living 03:44 would be perfect it’s really big and 03:45 spacious oh but I need a weekend free to 03:48 move to move everything down there no 03:51 you don’t need a whole weekend I do 03:52 hours but if I move it down there 03:55 yeah it’s not gonna come back for a 03:57 while is it no no never but that’s where 03:59 I do my music making that’s where it’s 04:02 lovely podcast by two computers okay 04:08 with that silence you genuinely 04:10 contemplate 04:11 yeah and computer yeah cuz I know you’ve 04:13 wanted to update your your graphics 04:15 cards and all that why you just buy a 04:17 new computer and then you can have one 04:18 downstairs one upstairs 04:20 well then was that one that was all the 04:21 package together wasn’t it 1150 04:23 secondhand yeah that was good well 04:28 anyway that’s for you to contemplate 04:30 yeah and the podcast yeah I played I 04:32 play I bought a new game I didn’t play 04:36 it for super long but I bought it 04:38 because it’s made by Ubisoft or Ubisoft 04:41 or best and I think that as a avid VR 04:48 man and I think we need to support the 04:51 triple-a people that whenever they 04:53 really I know you said that to me the 04:55 other day yesterday in fact maybe yeah 04:57 yeah it was yeah yeah I thought that was 04:59 a very strange thing to say and it took 05:01 me a second to processor because I was 05:02 like but shouldn’t you be supporting the 05:04 little guy since like well no because 05:06 well yes well yeah it’s less support 05:09 everyone yeah yeah but if these are the 05:12 people who are really gonna like Ubisoft 05:14 will be the ones who invest in the 05:15 technology yes you don’t want to support 05:18 them you want to show to all the big 05:20 guys all the big guns all the big knobs 05:22 that there is there is a market for you 05:25 to make games that we will buy them I 05:27 will you buy those games all of us all 05:29 of us collectively as VR enthusiasts we 05:32 will purchase your space junkies game 05:36 was that the game yep okay so well what 05:39 are the only reasons a boy it’s cuz all 05:40 on sale it was it was 14 pounds instead 05:44 of 30 so that’s quite a discount oh yeah 05:46 and it was on my wishlist and I was like 05:48 look right I’m gonna have to do this at 05:50 some point I’m gonna have to buy you 05:52 Ubisoft game and today’s the day so I 05:55 did it and it’s like a dress it 05:59 described quake but in space although 06:01 quake happens in space it does a bit 06:03 yeah quake in zero gravity is more an 06:05 accurate thing to say so it’s like lone 06:07 echo mm but we’ve guns 06:09 sounds fun yeah it’s a bit where you 06:11 shoot the gun and that pushes you back 06:12 with yeah yeah because of velocity so 06:15 you’ve got to think about that yeah yeah 06:17 you don’t think about it that much 06:18 because you got boosters on your back so 06:20 if it does push you back a bit you just 06:21 fly forwards a bit more but it’s one of 06:24 those things where it’s just loads of 06:25 not minigames but it’s just game off the 06:27 game off the game and it’s online-only 06:29 which I will say is mildly disappointing 06:32 I like I like a game to have a campaign 06:34 mode as well because or a single-player 06:37 mode at least where even if I was a 06:39 single-player a single-player tutorial 06:41 like introduced things okay yeah but 06:46 yeah yeah so like you know if you log on 06:49 and there’s no one else online you can’t 06:51 play it yeah and that’s a bit light but 06:54 because it’s new there is always people 06:55 online 06:56 yeah until they shut down the service Oh 06:58 guards why are they doing it no they’re 07:00 not doing it but yeah see that’s the 07:02 thing as well although I find do you 07:04 find that if you if you’re like ha this 07:06 games got an online mode but it’s from 07:08 the PlayStation 2 error I wonder if 07:10 there’s anyone online there is there 07:12 just happens to be one person online who 07:14 still plays this game all the time well 07:16 that’s what that’s what I done played 07:18 and it was fun I played it proper loads 07:21 but we played Pavlov yep yeah that’s 07:26 still good that’s still a good game with 07:28 all the updates 07:29 yeah well the update just was just a bit 07:32 yeah but it gives you a shooting range 07:35 yes and then you can press the buttons 07:37 on the side to adjust the distance of 07:39 that yeah it’s so-so Pavlov is a 07:42 counter-strike e-type game but VR I 07:45 think there’s another one and you know 07:47 other videos online of people like 07:48 playing via and it’s always like you 07:50 know they have the strap lines above and 07:52 below the video it’s like this go makes 07:53 me want to play for your there’s one is 07:56 called zero caliber I think I seen that 07:58 one 07:59 it’s like Pavlov except more War II more 08:03 like Call of Duty more like you going 08:05 out there we’ve got these special ops 08:07 you’re gonna do some crazy things with 08:10 guns 08:11 whereas was that you yeah the lid wasn’t 08:14 actually on properly 08:16 Williams drinking a cold coffee and had 08:19 to read the instructions on the side of 08:21 how to drink it didn’t have to 08:22 it was a habit from other cough I’m new 08:25 to this 08:26 – the whole coffee scene consuming goods 08:28 human collab you too – eating and 08:31 drinking so every time I choke just just 08:34 a coffee bit when you do that so I don’t 08:37 drink coffee but I’ve started drinking 08:39 iced coffee iced lattes yeah and all the 08:41 other ones I bought I said well shake 08:43 well before and then I bought one of 08:45 them nitro bonds or something it’s a 08:47 monster once no no yes 08:51 Nestle I said Nestle but that was my 08:54 brain trying to think of something I 08:55 remember caffeine arrow maybe but did it 08:57 say on it do not shake there yes you 09:00 will throw it it yes it said tip gently 09:03 tip because when you’re opening its got 09:05 like a nitro bull thing inside Jesus and 09:09 goes Shh it’s like faster furious it’s 09:12 like Vin Diesel drink exactly Wow 09:15 well I know that the monster expresso 09:16 things say don’t shake I’m gonna stash 09:18 those why not well I was drinking energy 09:20 drinks and then I went into I was like 09:22 no I don’t want any drinks I want to go 09:24 on caffeine a difference yes yeah fair 09:28 enough I can’t really ever go I drink 09:30 coffee every day while we’re talking 09:31 about this oh it’s because you’re inept 09:33 act 09:34 yeah lid putting on what have you been 09:36 playing I played Skyrim we are of course 09:42 yep not scary I can’t think the all it 09:46 has been you sense the same as a 09:49 Jurassic Park no I think I just got 09:52 confused and started singing in Jurassic 09:53 Park theme although Rachel did watch 09:56 Jurassic Park for the first time last 09:58 week Oh what did she think she enjoyed 10:00 it yes alright I was watching at the 10:02 same time and I’m convinced it’s a 10:04 horror movie now as opposed to as 10:06 opposed to just adventure yeah yeah 10:10 pretty scary every like I’m really 10:13 scared of dinosaurs it’s horrible well 10:15 I’ve got some good news for you yeah all 10:19 dead actually taking you know not 10:21 because alligators and brothers they’re 10:24 all is the big the big like t-rex thing 10:28 yeah I’m coming to the window and you 10:30 see it are 10:33 and he eats Vince Vaughn on the toilet 10:35 Denis yeah I don’t want to beat him by a 10:37 t-rex on toilet anyway I’ve been playing 10:39 Skyrim and that’s got dragons in which 10:41 are just as scary as the dinosaurs so 10:42 I’m quite scared by them as well good 10:44 but I’ve installed lots of mods on 10:46 Skyrim VR to make it playable because 10:48 when you so as we’re talking about music 10:51 and sound design E bits and stuff as we 10:53 should be yeah as I never do but when 10:56 you install it it doesn’t have 3d audio 11:00 does I’m saying when you say 3d audio 11:02 because we spoke about this with the 11:04 oculus and that so it’s got that thing 11:07 where it it knows where your head is in 11:09 space sure do you mean that or do you 11:11 just literally mean left and right and 11:14 that no I mean it’s just got stereo left 11:17 and right so imagine you put a set of 11:19 headphones on a game normally mm-hm 11:21 and you just got the left and right and 11:23 you can’t really tell if anything’s 11:24 behind you or in front of you it’s just 11:25 stereo nothing’s even calibrated to say 11:28 oh it doesn’t sound like you’re saying 11:29 yeah this is behind you yeah so you have 11:31 to install a mod for that and then that 11:33 makes everything sound eyes all coming 11:35 from all around you the waterfalls over 11:36 there then and so that sorts out all the 11:38 sound yes that’s really nice it’s 11:39 amazing that there’s people I commend 11:42 you people that spend their free time 11:46 doing stuff like that so we can enjoy 11:48 things that should have been done on 11:50 games yeah I mean like there’s a 11:52 community of people out there that enjoy 11:54 a game so much they’re like this this 11:56 should be better and I’m but then but 12:01 then do you not think that it makes 12:02 companies like Bethesda and Ubisoft like 12:04 slack because they’re like you know 12:05 we’ll release this and then someone in 12:07 the community will fix it later mate 12:09 yeah maybe but I what I want them to do 12:11 is go I will release this because that 12:13 is what we got and then someone goes and 12:15 fixes it and they go on the team yeah 12:19 yeah they should they should compensate 12:21 at least for people that just hire them 12:23 to do it for next time yeah I remember 12:25 when he didn’t put in that 3d audio this 12:27 guy can do it 12:28 Raz for five did exactly a major 12:31 dollar ass oh my I love Raz so yeah I’ve 12:35 installed that mod and then I’ve 12:37 installed a bunch of them again talking 12:38 about sound actually I did want to 12:40 mention this about the music but on the 12:42 sound front first yeah 12:43 more immersive sound so you install a 12:47 package and it’s on lots and lots of 12:49 different of the levels are they in 12:51 Skyrim different areas okay so when 12:54 you’re going to Whiterun 12:55 you’ve got the ambient sound there and 12:57 so they’ve got a lot more chatter and 12:59 people walking around and talking and 13:00 you’ve got like music coming out the 13:01 tavern and stuff and then when you’re 13:03 walking around normally they’ve got 13:04 nature sounds so is this all part of a 13:06 mod this is this is all a mod version or 13:08 mascara all a mod so you’ve got like B’s 13:10 you can hear bees buzzing around you 13:11 occasionally and animals off in the 13:13 distance and wolves howling somewhere it 13:17 makes it way more immersive and that’s 13:19 just putting in some extra sound effects 13:20 yeah 13:21 there’s one I love the way you said just 13:23 just you just you know just scatter them 13:26 about just throw them in the game and 13:27 they’ll sort themselves out yeah well 13:29 there but there is one that loops too 13:31 much and his annoying has like two 13:33 variations and that’s it yeah and it 13:35 doesn’t do anything else yeah it might 13:38 be an owl or something okay it’s 13:40 something it’s a bird of some sort okay 13:41 come on Boone a loon yeah that’s the the 13:44 bird that goes I’ll of making that noise 13:54 it’s amazing how often do you know of 13:57 this my safe word William so every week 14:00 God so that is the he that’s this sound 14:04 in terms of the ambience and stuff yeah 14:06 so that helps a lot well it’s amazing 14:08 how much ambient sound effects make to 14:10 an immersion of a game yeah I mean like 14:13 like the music obviously makes a big 14:15 difference but the immersion is the 14:16 Folies I wanted to mention the music go 14:18 on do you know what I did what did you 14:20 do 14:21 turned it off really yeah well because 14:23 it was not adaptive enough or gon give 14:26 you notes because maybe because it was 14:28 too adaptive it was too there’s no sort 14:32 of suspense that was a thing so if I’m 14:34 walking around the the wilderness yeah 14:37 and I’ve got my bow and arrow ready I’m 14:40 having a nice time or maybe you’ve got a 14:41 sword in one hand and I’ve got fire and 14:43 the other one yeah 14:44 I’m gonna find some rabbits to kill 14:46 monster um yeah there’s no was gonna say 14:50 if the music will tell you that there’s 14:54 an enemy nearby okay yeah so it gives 14:55 you too many signifiers 14:57 yeah it’s too like you’re like well be 14:59 all quiet something nearby oh well where 15:06 is it and you look around but if you 15:08 don’t have that cue it’s way more scary 15:11 you might hear a wolf over there yeah 15:13 it’s a wolf somewhere oh there’s a 15:15 whole pack of the buck and then you can 15:17 see them coming for you and is like 15:18 you’re actually walking in the 15:19 wilderness and it has a lot more yeah 15:22 just fear around it I think yeah that’s 15:25 funny because so but the music should 15:27 music should kind of sit under 15:30 everything and kind of improve your 15:32 whole experience yeah I mean it’s the 15:34 it’s do you want music to be always 15:37 non-diegetic or always diegetic or a mix 15:40 of the two because in a game like Skyrim 15:42 maybe you’re saying that you always 15:44 wanted to be diegetic sound that’s 15:46 happening but you know you go near a bar 15:48 yes that’s exactly yeah that’s so that’s 15:51 exactly what is happening now is there’s 15:53 nothing unless you’re in a town or 15:55 something there’s a tavern you go in the 15:56 tavern there’s a guy playing an 15:58 instrument yeah and that I think this 16:00 was mentioned on the on one of the mods 16:02 in the comments as well that brings a 16:04 massive sense of relief you go oh I’m 16:07 back in Civilization yeah there’s actual 16:09 humans making noise and this is nice 16:10 okay yeah normally I would never turn 16:15 off the music in a game because normally 16:17 that’s what you’re listening for yeah 16:19 are you playing the game exactly because 16:20 you like music don’t ya but also it’s no 16:25 fault with our composer in this bit I 16:26 think it’s just because it was adapted 16:28 to VR yeah you want you well more aware 16:31 of just everything around you yeah 16:33 exactly you’re in the space as opposed 16:34 to watching this space yeah yeah so you 16:37 know I might turn it back on but I think 16:39 I’ll leave off but also the game came 16:42 out eleven eleven eleven didn’t it yes 16:45 aged eight years old yeah one of them 16:51 was ages ago 16:52 yeah maybe it’s just I’m fed up in the 16:54 music yeah well yeah yeah I bought the 16:57 game like five times that’s stupid 16:58 I’ve never bought it once you have to 17:00 come out to play it yeah I’m inviting 17:01 myself and the other mod I want to talk 17:03 very quickly about no no the other – you 17:05 want William okay the other that’s too 17:08 long 17:08 carry on I now have a full four bottles 17:13 I know you’ve put on a lot of carry-on 17:17 okay I need to stop saying carry on 17:20 carry on Thanks 17:22 yeah now I have a full body in in the 17:25 game so before you just had the thing 17:27 just the oculus controllers or just the 17:29 vive controllers which she looked a bit 17:30 crap and then they it’s because they’re 17:32 the vive controlled as they are crowd 17:34 yeah and then they updated it see had 17:35 hands and that was really cool because 17:36 then you could see if you put on a ring 17:37 in the game of ring would appear on your 17:39 hand and so you could shoot out all the 17:41 fire and stuff and then someone’s made a 17:43 mod so you can have a body and I’m 17:45 guessing the body does the same thing 17:47 where if you wear a bit of armor he 17:49 changes it you can look down and see the 17:50 exact armor and everything it’s a lot of 17:52 work for them to do isn’t it they’re 17:53 gonna have to model all of the different 17:55 armor and all I know is different stuff 17:57 well sort of but it’s already there so I 17:58 think what they did is they created a 18:00 like a model mesh yeah that was the same 18:04 as what it is in the game currently so 18:08 they just took that and then they just 18:09 made it be able to move in VR so your 18:11 arms move around yeah and if you go low 18:14 then you start ducking down your legs 18:15 Bend I mean always looks a bit funny in 18:16 VR anyway always like your legs flailing 18:20 around I like it I like that weirdness 18:22 yeah so I installed that and then after 18:25 that it’s just a bunch of other little 18:26 things to make it look prettier 18:28 basically yeah like the thing you said 18:30 about the sky you always like the sky’s 18:34 height wise the scry it’s the sky so 18:37 green yeah but you’ve changed it now so 18:39 it’s black yes and blue yeah like a 18:42 bruise yeah so that’s what I’ve been 18:44 playing this week cool gaming news 18:48 gaming news news flash this game McGill 18:52 is 18:53 today William there has been news of 18:56 companies trying to get money for gaming 19:00 well good thing exactly it’s a mystery 19:03 to all of us so Apple and doing it 19:07 aren’t they yeah Apple have got Apple 19:09 arcade it’s not an arcade it’s your 19:12 iPhone like normal yeah they want to 19:14 make a subscription service because why 19:18 it sells because it sells but also 19:19 because their hardware is getting so 19:22 expensive and there’s so little 19:24 difference between each version on 19:27 phones now and and the laptops and 19:29 everything yeah that why would you 19:31 upgrade especially when a new like the 19:34 new iPhones like 1,100 or 1,200 pounds 19:36 bring them out every year yeah and they 19:38 act as if they’re the most innovative 19:39 things in the world that’s the thing 19:41 that annoys me about Apple that is that 19:42 all right all right I won’t do it i 19:44 won’t do it no go on the thing that I 19:45 wanna save it for when court case yeah 19:51 Apple listen to this 19:52 oh we’re suing you for what slander yeah 19:56 bring it on yeah Apple actually probably 19:58 shouldn’t shouldn’t try and they’ve got 20:00 quite a lot of money behind them yeah 20:01 and they’ll have more money with Apple 20:03 okay yeah well they won’t I hope it 20:06 fails although I do if they oppose what 20:08 because of the developers well because 20:10 it gives people another option for 20:12 gaming we should probably explain what 20:14 it actually is no no no yokan the apple 20:16 arcade is a subscription service where 20:19 there you will have when it releases 20:22 exclusive games so you won’t be able to 20:24 play them on any other sort of platform 20:25 mm-hmm but you’ll be able to play them 20:27 on your iPhone and on your iPad and on 20:31 your Mac mmm and Apple TV as if anyone 20:34 has an Apple TV anymore yeah yeah but 20:36 you’ll be able to play them across all 20:38 these platforms about me so I don’t know 20:39 if they’re gonna be selling a controller 20:41 of some sort there must be some way to 20:43 control it through your TV the Apple TV 20:46 one would have to have something I mean 20:48 they expect you to use that tiny Apple 20:49 remote that you get with it yeah but the 20:52 idea is that if you playing on your 20:53 phone and you’re playing the game like 20:54 oh this really fun I’m having fun 20:56 doo-doo-doo-doo 20:57 oh no I’m busy you put the phone down 20:59 you go home and you open up your MacBook 21:01 and you’re meant to be doing some work 21:03 and just like oh I just carry on with 21:05 this game and then 21:06 and then you carry on in your back your 21:08 back in it to you saying everyone who 21:09 works with an apple is a slacker that’s 21:12 what you’re saying 21:13 that’s not what I said no I think 21:14 everyone is a slacker oh yeah actually 21:16 that is a good point anyone who opens up 21:18 the laptop the first thing to do isn’t 21:19 work is it no it’s Google pornography 21:22 yeah okay sure we talked about I reckon 21:27 we should talk about that and Google 21:28 still the same time the same time 21:30 because they’re essentially the same 21:31 thing aren’t they sort of they’re both 21:33 well we don’t know how Google stadia is 21:35 going to be priced or anything at the 21:37 moment I was so you’ve got prices for 21:40 the Apple thing um what’s up so Apple’s 21:42 gonna be subscription-based so stadion 21:44 not gonna be subscription-based they’re 21:46 not sure well they bought they seem like 21:47 they want to give lots of different 21:48 things so the Apple thing you’ll pay a 21:50 subscription you’ll get access to all 21:52 these em games and they’ll be it says a 21:55 hundred games when it comes out all 21:56 exclusive to that platform and they 21:59 won’t have any ads they won’t have any 22:00 in-game perch there’s nothing like that 22:02 so that’s really nice I like that idea 22:04 okay I just feel like I’ve been hurt 22:06 before with all these sort of promises 22:07 seriously you know they sneak it in 22:09 black actually I know you’re paying this 22:11 much but if you play if you pay the plus 22:13 price actually but but not just like the 22:16 promise of all of these exclusive titles 22:18 and all of these on the release do you 22:20 know I mean are we gonna have a hundred 22:21 titles on launch and then you look and 22:23 50 of them are just candy crush clones 22:25 maybe Mia but candy crush kind of relies 22:28 on the freemium model yeah yeah that’s 22:32 it sorry freemium yeah yeah where is 22:33 this saying they specifically don’t want 22:35 that that’s what they trying to go 22:37 against you say that but if a candy 22:39 crush game wasn’t a freemium model it’s 22:42 a fun game you know I mean it never 22:44 played it it’s just a puzzle game 22:46 adicted you will yeah it’s a good game 22:50 but but okay so the the so the Apple 22:54 thing will be a monthly subscription and 22:55 then stadia could be you buy what a 22:59 one-off controller thing and then you 23:01 have access to this icy stadia as being 23:03 a separate thing like maybe not even the 23:05 same league as Apple because the Apple 23:08 stuff is all going to be his kind of 23:09 mobile games really isn’t it yeah Google 23:11 stadia the idea is that it’s Triple A 23:14 games yeah or it doesn’t it compute 23:16 indeed whatever but that you can play 23:18 any 23:19 game on any device yeah all you have to 23:22 do is you if you’ve got a good enough 23:24 internet connection stream it to your 23:25 life device yeah yeah because they’re 23:27 they’re using like GPUs that are the 23:30 cert cloud-based GPUs aren’t they so all 23:32 of the technology that is what you would 23:35 need in a PC they’re doing all of that 23:37 from streaming it from a remote server 23:41 yep 23:41 so really cool I did it is and I think 23:44 it will work if you’ve got internet that 23:45 fast enough because we went to comic-con 23:48 and I tried out it wasn’t Google’s one 23:50 bit of some other people doing this sort 23:52 of thing yeah and they had a bunch of 23:54 shitty laptops and they had it on a 23:56 phone yeah and it was streaming off of 23:58 some device somewhere else yeah running 24:01 perfectly yeah it was fortnight’s it 24:02 wasn’t that demanding no still yeah 24:06 it’s a cultural phenomenon it is the 24:09 thing that just dances so I can it’s 24:12 just a double you know if you ever make 24:13 a game pop some dancers in there I know 24:15 yeah 24:16 get the yo-yos back we’ll get those back 24:17 in I’ve actually got Johanna on speed 24:20 dial if you want to know yeah with this 24:23 so they will be you’ll be able to stream 24:25 up to 4k 60 frames per second okay if 24:30 you’ve got good enough Internet okay 24:31 which is awesome yeah but when yeah yeah 24:34 it still there is still a limitation 24:36 though and it’s the internet speed it’s 24:38 the internet speed yep so you’ll buy a 24:39 controller and yeah your stream so you 24:42 don’t have to download any games yeah 24:43 which is cool you literally you play 24:45 them straight off like they’re all 24:46 they’re installed in the cloud already 24:48 yeah you’re just stringing them straight 24:50 away so that the amount like you get a 24:52 game and you go home I’m gonna play this 24:55 is exciting and this is for people who 24:57 are consoles yeah like yeah but the ps4 25:00 and I forgot you kind of have to the 25:02 games yeah and then but then I still 25:04 think they’re giving you more avenues to 25:06 whinge about something if it doesn’t 25:08 work I mean I imagine if you don’t have 25:10 any hardware then there’s nothing really 25:12 to go wrong unless it’s on the Google 25:13 servers and then what you meant to do 25:15 well this is a problem so are you just 25:17 renting the games for a little while are 25:20 you paying a subscription service to 25:22 have access to all these games but if 25:23 you stop paying you don’t have any 25:24 access anymore are you buying the game 25:27 but if you buy it really you’re just 25:29 buying a license yeah and the license 25:31 might be you know 25:32 infinite but what happens when google 25:35 goes away yeah yeah Google are 25:38 definitely never going but that’s the 25:40 thing this might just end exactly and 25:42 Google cut out services all the time 25:44 I’ve sort of thought right so all these 25:46 games that are iconic massive legendary 25:50 titles video game wise you know you look 25:52 at them they’re they’re usually n64 25:54 games snez games PlayStation 1 games 25:57 right yeah maybe it depends where you’re 26:00 going I’m going with my mind I’m already 26:02 disagreeing I’m just not quite sure yet 26:04 oh yeah because I don’t think I made a 26:05 point my point was that the reason those 26:08 games are iconic and the reason that 26:10 people still play them is because they 26:11 have physical copies of those games that 26:13 are unchanged and will always be 26:15 unchanged yes so that’s another thing 26:17 which I think we mentioned in a previous 26:19 podcast about there being like a museum 26:22 for games yeah and that if you’ve got 26:25 these physical things these are accurate 26:26 they can go in the museum and you know 26:28 they still exist and you can copy them 26:29 at a later date if you still got the 26:31 right hardware and everything yeah yeah 26:33 they still exist whereas I just feel 26:36 like if you’re doing something that’s a 26:37 streaming thing it’s giving you the 26:39 mindset of well this game isn’t 26:40 permanent this game is I’m gonna play 26:42 this game and then be bored of it and 26:43 I’m not I’m not gonna go back to it 26:45 again and again and again because oh 26:47 look I’ve got access to this one now and 26:48 you know yeah like which is like my 26:51 Steam library yeah and something games 26:54 I’ve got about four installed yeah I 26:57 play one of them yeah Skyrim oh no I 27:01 wasn’t counting the VR stuff yeah Mel 27:03 Gear Solid 5 ok that’s what I play on 27:07 the PC yeah that’s about it yeah 27:09 everything else is VR yeah but and 27:11 there’s this huge list of games and but 27:12 do you ever get it and this is the same 27:14 thing that I get with Netflix is that 27:16 because there’s too much choice yeah I 27:18 go oh just sitting browse imager yeah 27:22 yeah 27:23 oh no I’ll sit and browse Netflix for 27:25 half an hour and not get nothing yeah 27:27 haven’t watched of not getting nothing 27:28 not getting nothing mate no um you 27:30 haven’t seen anything and I know it’s 27:32 meant to suggest things that you want to 27:34 watch and all that but that depends on 27:37 my mood maybe maybe if they hook that up 27:40 to some sort of mood monitor like we’ll 27:42 hook up to my Fitbit and collect even 27:43 more data from me yeah 27:45 ah you’re in the mood for something a 27:47 little raunchy aren’t you yes always 27:49 that flick basically the Google 27:52 stadia thing I’ve got some facts about 27:54 the about the GPU gone so right you’ve 27:59 got the the ps4 pro right the GPU in 28:03 that delivers 4.2 teraflops 28:06 apparently flops yeah what it means it 28:11 can complete four point two trillion 28:15 operations per second Wow well then 28:18 that’s a teraflop 28:19 yes so four point two teraflops is the 28:22 so it’s the GPU power in the ps4 Pro so 28:26 it’s the processing speed yeah this is 28:29 assuming I know how GPUs work I’ve just 28:31 got some words yeah numbers and numbers 28:34 yeah the Xbox one X right six teraflops 28:37 so it’s less sorry more ps4 one four 28:40 point two four point two okay yeah and 28:42 the Google Cloud thing so they’ll be 28:46 using AMD okay which is interesting and 28:48 so that will deliver ten point seven 28:50 teraflops so ten point seven trillion 28:53 operations per second and that’s more 28:56 than twice the amount that the 28:57 PlayStation can do yeah and yeah what 16 29:02 gig of ram okay i’ve got warm that 29:07 processor i’m not sure if it’s a 29:09 quad-core or octo-core i-27 29:12 the only information about the processor 29:15 right 2.7 gigahertz it’s that not much 29:19 is it not don’t think so but it depends 29:22 like if it’s yeah I don’t know it’s not 29:24 the thing with computers is I’m I’m new 29:28 to it I’m a year in you haven’t had to 29:31 do anything nice now because if you do 29:35 have to do something you’ll be pull that 29:37 out push that in yeah it’s done then let 29:39 the internet do the rest of it exactly 29:41 but what I was gonna say is it feels 29:43 like you know you’re fighting for the 29:45 highest number so I don’t want this 29:46 number to be the highest number I want 29:47 this number to be the highest number 29:48 which is why you go on the internet and 29:50 you check the actual benchmarks to see 29:51 how they run on actual things yeah but 29:55 when one of those numbers is lower can 29:57 one of the other numbers pick 29:59 so the the the the GPU as this silly 30:02 number yes right does that mean that 30:04 that can pick up the slack of the 30:06 processor if the process is a lower 30:08 number do you know what I mean no I do 30:10 know what you mean 30:11 I’m not gone for not enough to say yes 30:12 or no I think yes because I think it 30:14 does things that the CPU could do okay 30:18 because there’s a thing called threading 30:19 now as well that I’ve only just learned 30:21 about you don’t know about that me 30:23 neither 30:23 it’s a word one of these computer words 30:25 yeah that sounds impressive doesn’t it 30:27 threading hmm I think it’s even called 30:29 super threading ultra threadings next I 30:33 was going to say with the GPU is the 30:36 reason they can get it so good and 30:37 bloody big in that is because they’ve 30:39 got an infinite amount of physical space 30:41 they can use so that it’s streaming to 30:43 you from a cloud but if you went there 30:45 physically it could be a cabinet oh yes 30:47 so the the it’ll be in their data 30:50 centers which I think that Google have 30:52 got data centers in about 200 countries 30:54 Wow 30:55 so it’ll be dual boot up your game and 30:57 it’ll be running in one of those data 30:59 centers yeah and if that fails it will 31:00 fall back to another one you’ll never 31:01 notice yeah so the idea is kind of cool 31:05 but like you said are you gonna yep you 31:07 don’t really own the game it’s not a 31:09 physical thing there hmm and you might 31:12 not have that same attachment to it of 31:13 like ah I’ve just got this in your game 31:15 I need to play it and need to start 31:16 middle and cool I’ve done it that was an 31:18 achievement yeah pick it up and go well 31:21 cool played it for a bit 31:22 especially because yeah with the with 31:25 the steam game you’re into you’ve got to 31:27 do that thing where you’re like I’ve 31:28 paid for this now I gotta have to enjoy 31:29 it 31:30 yeah where is that if you’re renting all 31:33 of the games 31:34 I know literally just at this point but 31:36 yeah it’s that it’s because you’ve 31:38 rented all of the games and you’re doing 31:40 it but how are they going to pay for it 31:41 surely it’s gonna be a monthly 31:42 subscription thing it has to be there’s 31:44 no other model for it to be well there 31:47 is so you can either do what you can 31:49 have a number of things so I think they 31:50 said they wanted it to open up to 31:52 different business models so it it’ll be 31:55 easier if you’re the developer and 31:57 you’ve made a game and you’ve done it 31:59 for that Google stadia thing it’ll be 32:01 easier for you to send a link to someone 32:03 and go here play this yeah and the 32:06 person then could either because they 32:08 are subscribed they could either then go 32:10 cool I can play it straight away or they 32:12 can go oh okay I have to pay this much 32:14 money so you might still be just buying 32:16 a game like normal okay so you buy pay 32:19 ten quid 20 quid whatever yeah and then 32:21 you just play it straight wait instead 32:22 of with steam having to install it 32:24 Oh front of hard drive space whoops yeah 32:26 no yeah definitely I was going to say 32:28 it’s that link sending them a link thing 32:30 is like having stuff on Spotify yeah 32:33 it’s like you might as well just have it 32:35 on Spotify because you know that if 32:36 someone you’re like okay listen to this 32:38 tonight listen to it rose before you 32:41 would be like right it’s on my myspace 32:42 or it’s on my band camp or whatever you 32:44 just go to Spotify and they go okay cool 32:46 but even if people don’t have Spotify 32:48 the nice thing is that you get a 32:49 30-second preview of the track anyway 32:50 oh really okay cool what you get to 32:53 listen to stuff anyway with ads don’t 32:55 you you know about this don’t you yeah I 32:57 was gonna save it but the other bit I 33:03 want to talk about on the so the Apple 33:05 thing Apple Arcade in Google stadia I 33:08 want to talk about how people are gonna 33:09 make money on it okay so I did a bit of 33:13 research yeah I want to see how 33:14 developers gonna make money so with 33:16 PlayStation Plus you know people pay for 33:18 that and you get that yeah you get every 33:20 game every month or a few free games or 33:23 a few sometimes apparently with that the 33:24 developers or the publishers whoever is 33:26 in charge of all the money yeah they get 33:28 paid up front fee okay PlayStation Sony 33:31 just go up didn’t go we wanna put your 33:32 thing on here here’s some money let me 33:35 go okay thanks so it doesn’t matter to 33:38 them how many they sell or how many 33:40 people download it yeah so that was a 33:42 question that I had because if you are 33:45 streaming stuff it’s very difficult to 33:47 tell like how would you do it the 33:49 persons that played for 30 seconds but 33:51 they downloaded it so that’s a download 33:52 or they played it for a hundred hours 33:54 like where’s yeah money thing wouldn’t 33:57 make any sense there yeah so the way 34:01 Netflix does it is they pay Studios a 34:03 license fee to have their show on the 34:06 platform for a certain amount of time 34:08 okay so pay the studio whatever and say 34:13 right this gives us exclusive access for 34:15 this long and non-exclusive access for 34:17 that long after that time we need to 34:19 renew the license otherwise it comes off 34:20 the platform so it’s so still you get an 34:23 upfront fee you get some stats in the 34:25 background maybe but there’s nothing 34:26 really based on their sort of making a 34:28 gamble a little bit of going do you 34:31 think it’s gonna do really well here 34:32 some money or here’s money for six 34:34 months we’ve come on platform six months 34:36 see how you do and then if you do really 34:37 well we’ll give you more money yeah so I 34:40 think that’s probably so it’s like an 34:42 upfront free or royalties it’s the two 34:43 different things but yeah but royalties 34:45 I can’t see how that would work because 34:47 how are you gonna know is it going to be 34:49 per minute people play the game sup to 34:51 them they can set the parameters can’t 34:53 they eventually up til I’m just trying 34:54 to think of how it would work what would 34:56 they do 34:56 I think I think the upfront fee would be 34:58 the thing within it and then you know 35:00 his his apple and then exclusive I think 35:03 Google but Apple could do it where it is 35:05 an upfront fee but they pay out on how 35:07 many downloads as well so you get a 35:08 lesser fee up front and then because 35:10 people are literally they’ll still have 35:12 to sort of say oh this game was on my 35:15 Apple account yeah you can easily track 35:18 how many people have the game that 35:19 Google will have analytics for 35:20 everything that’s happened I know like 35:22 they won’t be able to access how many 35:24 seconds whatever no but also our Google 35:26 do you think Google are going to be 35:27 doing publishing stuff like about making 35:31 their own exclusives and stuff for you 35:33 know well I think they’ll definitely 35:34 have exclusives right really yes or 35:38 anything yeah do you think they’ll set 35:41 up their I think I’ll set up a studio 35:43 themselves and have the Google ever made 35:45 games before other than that thing that 35:46 is a dinosaur that runs over fences when 35:49 you can’t connect to that game game yeah 35:52 okay yes it’s just I’d be proud if I 35:55 made that would you you almost did 35:57 especially consider how many people must 35:59 have played that game consider how many 36:01 people don’t even know it’s a thing yeah 36:03 actually I showed boss in my office two 36:06 weeks ago I think yeah she had no idea 36:07 of course and the internet was down and 36:09 we had nothing to do all day you know if 36:11 you just press the spacebar oh my god if 36:13 she was on it for ages Internet came 36:14 back upstate no no no no no no no turn 36:17 the internet off again I’m not gonna 36:19 talk about the composure like if you’re 36:21 composing music for a game and it’s on 36:23 any of these platforms how then will you 36:26 get paid because surely it’s while 36:29 you’re making the game that’s when fees 36:31 decided for mate do you know I mean oh 36:34 yeah but while you’re making the games 36:35 to say you’re making the game for one of 36:37 these platforms 36:39 and then the games you know nearing 36:42 completion the issues a few months away 36:44 they get the composer on board and then 36:46 you go cool we need to pay you some 36:47 money yeah like I think the idea of 36:50 having with smaller games you might have 36:52 gone have a live revenue share but I 36:55 don’t think that that doesn’t work 36:57 anymore because the game can’t if 37:00 everything’s a flat fee upfront then you 37:02 can’t have a share of the revenue 37:04 because there is no revenue to have a 37:05 share office like well this is how much 37:07 money we got so we’ll pay you this much 37:09 yeah it’s not like if the game explodes 37:11 I’m gonna get loads of money right yeah 37:14 first contracts isn’t it that’s to do 37:16 with what you’d sign when you made the 37:18 game you know yeah but I mean there is 37:20 there’s no room now for a composer to 37:23 have or with this there would be no room 37:25 for a composer to get a revenue share 37:27 because the revenue is not going to go 37:28 up or down on whatever because if you’d 37:31 normally do it on small small developers 37:34 and studio and stuff if they have no 37:37 money to pay you up front and you really 37:39 like them and do you’ve got a bit of 37:40 time you go well I’m okay I can do this 37:43 give me five percent revenue share yeah 37:45 five percent of the profits and when 37:47 work anymore because there aren’t any 37:48 profits to grab really but because it’s 37:52 a one-off fee yeah so you’d have to 37:56 negotiate within that fee wouldn’t you 37:58 yeah you basically you just agree well 38:00 so I’m taking the course at the moment 38:01 to try and get what not even try to get 38:05 work it’s more to once you found people 38:08 who are possibly willing to pay you some 38:10 money how do you actually negotiate with 38:12 them properly how what kind of deals are 38:14 the best kind of deals so it seems for 38:16 composers the best idea is to get a flat 38:19 fee or note walter quota flat fee that’s 38:21 the first bit because if you quote going 38:23 oh well is this much per minute and that 38:25 much then that’s like that could be 38:28 exponential that could go if development 38:31 of the game is starting up a tiny game 38:33 and then suddenly expands and loads of 38:35 people come on board it’s like well you 38:36 said it 150 pound per minute of finished 38:39 music well actually we need like 200 38:41 minutes of music now whereas if 38:44 you go I I would like this flat fee this 38:46 is how much I’m gonna charge for the 38:48 project in and you give them the 38:50 parameters if it then goes above that 38:52 you renegotiate okay well for this extra 38:54 work this is the flat fee cuz then they 38:56 know exactly how much it’s going to cost 38:57 there’s no surprises okay but it feels 39:00 like you’re doing yourself out of money 39:02 that way though because they could that 39:05 you could go here’s a flat fee yeah for 39:07 this yeah and then there you go we 39:10 needed to record this extra stuff now 39:12 but you said it’s a flat fee so we’re 39:15 not going to pay you anymore what no you 39:16 do a flat fee within the parameters that 39:18 you’re given you go this is the flat fee 39:19 for the project with what you need me to 39:21 do right now right now you need me to do 39:23 45 minutes worth of finished music and 39:25 all mixed in stems done so the idea is 39:28 not to scare off your potential yeah but 39:30 still get paid the amount you’re gonna 39:32 get paid that you should okay and the 39:34 one last important thing wanted to 39:35 mention that is that you should always 39:37 keep the the rights to the music so that 39:40 you can then go on and sell that music 39:43 so they have the music exclusively yeah 39:45 any way to use in the game they can kind 39:47 of do whatever they want with it and 39:48 everything but you still retain the 39:51 rights to put it on Spotify and to sell 39:53 it on Bandcamp so for composers to have 39:56 the if the game get does get really big 39:59 then that is your sort of revenue split 40:02 then because if the game gets big well 40:05 the soundtracks gonna be bought and 40:06 downloaded a lot more yeah so then you 40:08 get that money yeah 40:10 rather than the developers and 40:11 everything because you’re the person you 40:12 put all that together so I think that’s 40:14 an important point to make that you want 40:15 to try and keep those rights for you 40:17 okay and don’t if you are gonna sign 40:19 them away and say right you have all of 40:20 it you’re doing everything developer the 40:23 studio you have all the rights then you 40:26 should ask for a lot of money because 40:31 they bought a new monitor hey was it 40:34 nice was it nice is it not easy well 40:37 well well I bought one with a crack in 40:40 it me got home plugged in little purple 40:42 squiggle on the screen and I went oh 40:44 what’s that tried to run bit off my 40:47 finger kept getting caught and say oh 40:48 what actually work Jesus yes so took it 40:52 back to the shop and was like it’s got a 40:54 crack in it like my butt and they were 40:57 like get out and leave the television 41:00 and and they didn’t have any more in 41:02 stock on that one 41:03 so I really wanted that one it’s really 41:06 nice 41:06 oh sorry you didn’t even get the same 41:08 one no I did I had to then drive from 41:11 Farnborough to Guildford and go there 41:12 because it said the headstock and 41:13 Guildford so job to Guildford I said I 41:17 went in the store I know and then I went 41:21 look I’ve got this it’s got a crack in 41:23 it I can’t exchange it you’ve got three 41:25 or four in your store and they went 41:26 let’s just have a look for you sir 41:28 didn’t have a look um sorry no what do 41:34 you mean why like oh well we don’t have 41:36 any in stock you do I just they checked 41:38 at the other store you’ve got them in 41:39 stock oh yeah no so we do know we can’t 41:43 sell those why well if I just left it 41:47 there like some people might of would 41:49 have been really bad I can go oh 41:51 okay sorry sorry food and just live yeah 41:56 but I didn’t I’d questions of well why 41:58 can’t you sell them what’s wrong with 41:59 them why did you kick off did you stamp 42:01 your feet I didn’t kill a pig I was 42:03 quite timid he was serving me no not 42:06 sick just very timid in quite this 42:08 appoint dog murder because he was like 42:09 this he’s very quiet and they’re the 42:12 people you can push around with you I 42:13 don’t do that now okay um yeah so they 42:17 did have some in stock you know what’s 42:18 wrong with him they were naked had the 42:23 wrong power cable Oh what like European 42:26 or no just completely the wrong cable 42:29 still a normal plug but didn’t have a 42:31 Ketel lead it was a stupid prong end or 42:33 something right sounds like Bert and I 42:39 explained strim so I have cables because 42:42 I’ve just brought them back oh we can do 42:46 that let me go check I’ll ask a manager 42:48 okay go get your manager anyway after 42:51 that long story I go home it was really 42:54 boring really sorry and I’ll put some 42:56 music behind here that will make 42:57 exciting put some scary music behind 43:00 yeah 43:00 oh the monitor to monitor got home yep 43:04 plug this one in Oh lovely okay is 144 43:08 Hertz as an MSI monitor it’s got free 43:11 sync on it turns out my graphics cards 43:13 are not actually good enough to do free 43:14 sync tell me what free sync is it’s not 43:16 where you do the washing-up No 43:18 it’s not this would involve me trying to 43:20 explain what freesync is I don’t really 43:22 know it’s you know vsync on we can turn 43:25 that on and computer so just stop the 43:26 screen tearing so I’m not gonna explain 43:28 this very well your graphics card right 43:30 can render a whole load of frames per 43:32 second right shoves them up to the 43:34 monitor right but it might shove too 43:37 many up there and so the monitors 43:38 refresh and that so many times 43:41 sorry those are too easy 43:44 um the monitors refresh rate isn’t fast 43:47 enough to keep up with it and so it’ll 43:48 like get caught between two it’ll render 43:51 both of them and you get a tear in the 43:52 screen because it has that one there and 43:54 this one air crack so we’ll have a tear 43:59 in the screen so you turn on vsync and 44:03 then that sort of cripples the graphics 44:05 card a little bit and says right stop it 44:08 yeah it’s sending me so much information 44:09 here’s the limit push out a nice 44:11 constant 60 frames per second to stop 44:13 jumping around with your different 44:14 frames my monitor can do 60 frames per 44:17 second push 60 frames a second please 44:19 okay it’s like a resistor well yeah and 44:21 that’s oh that’s nice and it works until 44:23 you get to a point where it can’t push 44:25 out a constant 60 frames a second and so 44:27 it goes well if I can’t do 60 I’ll just 44:30 have to drop down to 45 right and so it 44:32 goes you’ll be playing and there’ll be a 44:34 big like it will just drop to 45 44:36 straightaway yeah and then we’ll jump 44:38 back up to 60 right whereas if you don’t 44:40 have vsync on then it you get all the 44:43 amount of frames in between however you 44:45 want but you get screen tearing 44:46 so what’s free sync so free sync I have 44:50 no idea how it works and it doesn’t work 44:52 with my graphics card but if I had a 44:54 better graphics part it would do it and 44:56 so the monitor does it then and the 44:58 monitor takes all of the frames 45:00 apparently and does something to them 45:02 magic and it’s magic and you don’t need 45:05 to have vsync on your computer the 45:06 monitor sorts it all out for you makes 45:08 it all better 45:09 oh don’t know how it does it circe 45:12 curved as well as this oh yeah there’s a 45:14 curved one yeah I’ve never had a curved 45:15 thing before we were gonna get curved TV 45:18 when we bought this one I was like no I 45:20 like yeah they’re not really any point 45:23 the monitor being curved is nice just it 45:26 when you’re looking at it it’s just got 45:28 a bit on the side you just don’t have to 45:29 turn your head as much yeah 45:31 um but the main thing is it’s a hundred 45:34 and forty-four Hertz 45:35 okay so it can it can accept it can show 45:38 144 frames per second like maximum okay 45:41 which I thought would be good for games 45:44 of which I don’t really play that much 45:46 because the plane in VR mostly yeah but 45:49 it makes everything nicer yeah you said 45:51 you you’re enjoying browsing the 45:52 internet ID and everything SuperDuper 45:58 smooth like because you are getting more 46:02 frames per second basically yes you’re 46:03 scrolling normally in you seeing imagine 46:06 if you’re seeing 24 frames per second as 46:08 you’re scrolling through the Internet oh 46:09 god it would be like you wouldn’t really 46:11 notice it until you get a silly good 46:14 monitor and then you’re like how could I 46:17 ever go on eBay again exactly well I was 46:20 looking everything at once yeah lists 46:22 everything yeah browse everything I was 46:25 looking forward to it for using Reaper 46:27 and composing because the air makes 46:28 sense it when the thing is going across 46:30 like that it’s super smooth and it just 46:32 it’s just nicer that is basically it 46:35 yeah it looks a bit better and now you 46:40 can say all these numbers that you don’t 46:41 understand 46:42 144 free thing I didn’t understand was 46:46 free sync okay everything else it’s 46:49 curved it looks nice alright I think 46:52 there’s a 250 quid Wow which compared to 46:55 all the others around that price point 46:57 this was way better than those okay good 47:02 deconstruction 47:05 deconstruction of a song of a game song 47:11 of a same song yes because this podcast 47:14 is about video game music is it well as 47:16 it is I would like to make it kind of 47:18 half and half yeah okay yeah we were I 47:20 think we had a couple of episodes of we 47:22 talked a lot about VR we don’t on this 47:24 episode yeah but we will always do it on 47:26 the episodes yes as long as I’m part of 47:28 this podcast will you you know you can 47:30 guarantee there would be some VR yeah I 47:32 mean this is my house William fair 47:37 enough yeah but we thought we would 47:40 deconstruct a tune so we wanted to go 47:44 easy on ourselves basically yeah but we 47:49 picked it’s the way it’s just called 47:51 forest but the forest a theme for some 47:54 reason everyone thinks it’s called Lost 47:55 Woods well I think it’s in the Lost 47:57 Woods so that’s almost people call it 48:00 the lost yes so it’s the Lost Woods 48:05 theme from call it whatever you want 48:07 it’s not cold this but it is a cold 48:09 valise you’ll find it if you actually if 48:11 you search for the lost but seems but 48:12 it’s from Zelda link to the past on the 48:15 snares on the snares yeah 48:17 and so she link to the past on anything 48:18 else it was a snare zone just nez i 48:20 think okay yeah i know that we won’t 48:21 find any other versions of this song 48:23 elsewhere no like a gameboy version or 48:26 whatever no well I know there is a Lost 48:29 Woods theme that is the Ocarina of Time 48:31 one but we’re not doing that one no 48:32 we’re not not that one we are not doing 48:36 that one because all the time I spend 48:38 the thing of that song not doing it are 48:40 we you spend time like no I didn’t ok 48:43 the two minutes no were here when I say 48:45 is it this one William no that one a 48:50 tote I sent you a document that had 48:52 paragraphs and paragraphs of text 48:55 explaining what we were doing and you 48:57 didn’t even read it that’s what you’re 48:59 telling me Lloyd look how well that’s 49:01 going it’s fine I know it’s fine well we 49:03 haven’t started and yet right so yeah 49:06 it’s going to deconstruct it also in the 49:08 show notes I will put the I’ll put the 49:11 MIDI file of the song for people because 49:14 if people have access to that they can 49:15 download that it’s really good 49:17 again going parking back to the 49:19 community of people it’s amazing that 49:21 when there’s like a game as classic as 49:23 like anything name of game that’s 49:26 classic Final Fantasy Zelda I can’t name 49:29 any more butter pecan 49:31 Donkey Kong people online have 49:34 replicated it to the max so you can go 49:38 online and find all the resources that 49:39 you want so so this has got a MIDI file 49:42 which is awesome would that be 49:44 that wouldn’t be how they can post it 49:45 though would they fear they did it 49:46 honest Ness but they’ve done it a beard 49:48 tracker would yeah with the option to 49:50 load in samples so that’s nice cool look 49:54 what we’ve definitely talked about this 49:55 if you want to learn more about this 49:56 listen to one of our episodes on the 49:57 history of video game music 49:59 episode 22 well I think it was 22 I know 50:03 it snows and Game Boy because they’re 50:05 very similar they are the same but the 50:07 snez was in mono and the gameboy was in 50:10 stereo and the snare juice samples and 50:12 the gameboy couldn’t I think that was 50:14 the difference anyway anyway I will put 50:17 the MIDI file in the show notes I’ll 50:19 also put I converted it into a guitar 50:22 profile as well and you said did that 50:25 automatically but I imported it into 50:27 Guitar Pro and then did some little 50:29 edits on it so because some stuff is 50:31 like a pretty high octave yeah I brought 50:33 it down an octave and then put the 50:34 little 8va thing which means play it up 50:37 an octave what does that symbol mean sir 50:43 oh god I gotta go back to teaching on 50:47 Wednesday as well shut up yeah exactly 50:52 how I teach no so up at the mill our 50:54 guitar profile and then I’ll just amp a 50:57 PDF of the guitar profile so anyone 51:00 who’s interested can see the notation 51:01 yeah and have a look and see how it’s 51:03 all working yeah so what gone should we 51:06 do the shallowest 51:07 to it first yeah let’s play it play it 51:09 for the for the listeners play it for 51:12 every one mate play it for me as well 51:14 alright oh you want me to play on it 51:15 yeah time to hear it right I have 51:20 listened to it it’s like a minute long 51:22 clip but it’s basically 30 seconds that 51:25 loops isn’t it 51:26 yeah 51:31 [Music] 51:32 [Applause] 51:32 [Music] 51:40 [Applause] 51:55 [Music] 52:00 [Applause] 52:08 well I picked this one because I wanted 52:11 like I want this to become a feature a 52:13 section where we deeply see some use 52:15 already a section is the sword um but I 52:18 wanted to start easy something that I 52:20 could easily pick out the different 52:21 parts and it’s not long and we can 52:23 actually analyze it yeah 52:25 how should we do this should I ask you 52:27 because I have a sheet of questions I 52:29 went through and answered some of them 52:31 yeah 52:32 shall I ask you the question what I 52:34 think afterwards yeah do it 52:36 question one what do you notice and what 52:39 do you like or dislike about the track I 52:42 really like what I think about it I 52:44 don’t know whether I’m gonna cover other 52:45 questions by this one you might know if 52:47 you do I just won’t aren’t asking this 52:49 question Kate so the thing I like about 52:51 most of the Zelda music is it’s really 52:54 obviously Zelda music like I think it’s 52:56 really recognizable as it and I think 52:59 one of the things is the voice that they 53:01 chose to use for that sort of flute 53:03 either it’s really recognizably Zelda 53:08 and I don’t know whether that just 53:10 happens to be like the composer chose 53:12 that and went oh I like that sound 53:13 that’s the sound that I’m gonna use for 53:14 all of my songs or whether it was a 53:16 conscious decision that he was like no 53:18 it needs to be this you know wood 53:21 instrument sound it needs to you know I 53:23 don’t think it’d be conscious yeah I 53:24 think because they want especially in 53:26 just that one game they want everything 53:28 to have the same style yeah absolutely 53:30 I put the melody on the flute and happy 53:32 and ER yeah yeah but it does sound like 53:35 Zelda isn’t it yeah so that that would 53:37 be the thing I liked from the melody was 53:38 that flute sound but I also like the the 53:41 chord pattern is kind of like it’s it’s 53:44 really happy it’s really major and then 53:45 it kind of goes my slight melancholy bit 53:49 doesn’t it where it kind of goes Oh a 53:51 little bit down but don’t worry we’re 53:53 gonna resolve it with this beautiful 53:54 major harmony yeah I draw 53:56 I’ve got some information about the 53:58 harmony actually about the court what 54:00 chord to use and stuff so you want it 54:02 now yeah this involves me scrolling 54:03 where has it gone so the the chords 54:08 start quite dissonant that’s what I 54:10 found so it starts with an E major for 54:12 the first bar but then I think the the 54:17 second chord is it moves up a semitone 54:19 so you start with an E major chord which 54:21 got a teashop be okay and then it moves 54:26 the root note up a semitone to an F yeah 54:28 which is odd okay why is that odd 54:31 because in the key of E major 54:34 you would have an f-sharp normally okay 54:36 so the site didn’t e you major in the 54:38 gun hey here’s a happy chord here’s our 54:40 record and they’ve kind of as youjung 54:46 along that’s how I think of it I’m on 54:47 gets gets it so they’ve gone they’ve 54:49 moved the root note up a semitone to get 54:52 F a and B SAP fab but that gets you know 54:59 if you’re talking about the music theory 55:00 why’s that gets your root note 55:01 yeah it gets you a major third where’s 55:03 your root and third happy yeah and then 55:06 it gets you you can see this is either a 55:09 sharp 4 or a flat 5 okay either way it’s 55:11 weird it’s the same note it’s still a B 55:13 but if it’s I’d probably call it sharp 4 55:17 because it’s that sort of slightly 55:19 dissonant but questioning sound okay 55:22 okay mm okay so is that what the sharp 55:24 four does it gives it that sort of like 55:26 yeah and I think isn’t though you are 55:29 lost in these woods 55:31 exactly and that’s exactly what ever I 55:32 think it’s that combined yeah with the 55:36 nice happy major chord at the beginning 55:38 yeah that sort of lets you know 55:39 everything’s not alright yeah yeah you 55:42 might think it’s okay but you’re wrong 55:43 something’s around the corner yeah so 55:46 that was in woods there’s woody corners 55:50 wooded wooded woody but trees don’t grow 55:55 in squares you could make them grow in a 55:57 square no no no the actual shape of them 55:59 yeah you could put some blocks around it 56:01 and for me cruel isn’t it a little bit I 56:03 don’t know does the tree have feelings 56:04 anyway sorry like I liked 56:09 just the orchestration of it I liked how 56:10 well so they’ve got so what their 56:14 constraints have the snows again so 56:15 we’ve got three voices if we got over 56:16 got more than that you’ve got six six 56:19 six voices and the voices are or you’ve 56:21 got eight channels separate instruments 56:23 they can use so it’s six instruments two 56:25 samples is that correct no I think is 56:28 forget about the samples okay I didn’t 56:30 get about them are we talking about I 56:32 think you’ve got six different channels 56:35 right plus well you’ve got eight 56:37 channels yeah two of them normally used 56:39 for the sound effects yeah and then the 56:40 other six views for the music okay so 56:42 the two that they aren’t using will be 56:43 linked yeah yeah and this sword noises 56:47 and all of that stuff okay cool 56:49 so I liked with the constraints I just 56:51 liked how well orchestrated it was like 56:52 everything’s split across if you were to 56:54 play on a piano it’s like covering a 56:56 massive range of the piano okay 56:58 everything’s got lots of space and it 57:00 just sounds nice doesn’t it yeah no 57:01 percussion which is quite strong 57:03 no percussion yeah I’m not sure how to 57:06 analyze that like 57:07 how can we analyze the thing that isn’t 57:09 there but yeah what good quite the 57:12 decision to not put any percussion in 57:13 yeah I mean maybe it’s because the rest 57:16 of the game you do have a lot of 57:17 percussion and then when you come so 57:20 when you’re in the Lost Woods when 57:22 you’re in the Lost Woods right walking 57:24 around and you’re trying to find the 57:25 master sword and when you do find it I 57:28 was gonna say spoiler alert but I think 57:33 people have had enough time to play it 57:34 yeah I think so the 20 plus years but 57:37 when you do find it it’s like spoilers 57:39 Willy I’m sorry Kari um you find it 57:42 holds it above his head as link does and 57:45 then the wood becomes not lost like it’s 57:49 all shrouded and it’s a weird colour 57:50 when you do find it everything’s bright 57:52 green again oh and so I change the song 57:54 and then they change your music I think 57:55 it’s just a standard overworld being 57:56 them which has the drums coming back in 57:58 yeah it gives quite a massive difference 58:00 between the two like walking around 58:03 getting a bit lost not quite sure where 58:04 you go and you found it 58:06 percussion by its very nature is upbeat 58:09 isn’t it because it’s its beats 58:12 literally but do you know I mean like 58:14 percussion is Sophia if you go if you 58:16 want the dynamic contrast of going from 58:20 somewhere that’s meant to be scary and 58:21 ominous 58:22 – then somewhere that’s upbeat and and 58:25 like hey exciting and yes horse but 58:34 that’s what their does it’s that yeah 58:35 yeah exactly yeah yeah so yeah I was 58:37 doing a bit of a horsey thing them yeah 58:38 yeah it was the movements that was 58:40 scaring me sorry I do I was just 58:42 questioning what you were doing to a 58:43 poner but no so yeah and also I think 58:48 maybe the non percussion in it is 58:50 because the the beats in the background 58:52 are kind of doing it for you 58:54 you’ve got the did you know I mean 58:57 they’re kind of they’re not paddy they 58:59 are staccato they’re giving you a beat 59:01 and I also think as gonna mention that 59:03 so with the you’ve got the chords right 59:06 yeah and the way it’s written out so if 59:08 you do look at the guitar profile you’ve 59:09 got a section full court so it’s split 59:12 that’s actually split into four 59:13 different parts 59:14 you’ve got the flute as the melody yeah 59:15 you’ve got an octave lower another 59:18 melody on strings it just matches it 59:20 exactly just knocked it lower okay so 59:23 what why would they do that presence 59:24 they’re giving it more giving it more 59:26 beefiness 59:26 yeah otherwise you just have a quite 59:28 tinny flute at the top okay so it just 59:30 gives it bit so as it strings yeah much 59:33 as you can get on that does that count 59:34 as harmonizing it doesn’t if it’s not 59:36 changing the chords you sort of I you’re 59:38 harmonizing in a in a dog Dave I suppose 59:40 yeah I did to me I don’t think an octave 59:44 counts as a harmony but I think if it’s 59:46 on a different instrument it does yeah 59:47 yeah okay cool technicals yes so the 59:53 melody is on two instruments octave 59:55 apart and then so the chords would be 59:58 three separate channels but in the 60:01 Guitar Pro thing it shows them as just 60:03 one because you’ve got your three notes 60:05 in a chord just show them on one 60:06 instrument they’re all the same 60:08 instrument anyway it’s just on this and 60:10 when it’s composed on the snares it 60:11 would have to be three separate things 60:13 so because you needed three different 60:16 notes being played at one yeah and so 60:18 everything’s monophonic I think you 60:19 can’t have polyphony I didn’t know that 60:21 I’m pretty sure that’s right but the 60:23 rhythm thing that you’re just talking 60:24 about yeah I think again to emphasize 60:27 this sort of everything’s not all is not 60:30 all good here yeah every bar starts with 60:34 half a beat rest 60:36 okay there’s always this sort of 60:38 lurching go to babble of dirt dirt 60:40 there’s this weird I think that’s I 60:42 think that’s something that is 60:44 throughout the whole Zelda soundtrack as 60:45 well actually that’s sort of like its it 60:47 yeah that rest at the beginning of a bar 60:49 it kind of leaves you that like yeah 60:54 jarring a little bit and it always keeps 60:56 you on your toes rather than if you just 60:57 had chords holding down or even if 60:59 they’re just gonna didn’t yeah that 61:03 would be a bit more Oh adventure 61:05 exciting yeah yeah with that little rest 61:06 it goes no no no no not not today linkie 61:14 boy you’re going to have a treacherous 61:17 journey through these wooded areas 61:21 forest 61:22 sorry carry on I’m also going to include 61:23 in the show notes the PDF with all the 61:26 questions right now so if people want to 61:28 analyze other songs and yeah they can 61:31 look through these questions and I think 61:32 the PDF you can write on it as well it’s 61:33 at one with the proper forms and 61:35 stuffing cool so you can answer all 61:36 those because one of the questions is 61:37 about the forum song and structure and 61:39 the different sections in a song is my 61:42 answer or no because my answer to that 61:43 was it’s only 24 bars long so it’s not 61:46 much for mister well I don’t know is 61:49 there not I don’t know let me ask you 61:52 this the different sections of the song 61:54 okay so yeah there’s basically two isn’t 61:57 there yeah no even that no I think 62:00 you’re right there’s no one sort of 62:01 repeated yeah yeah so that was my aunts 62:04 at that but if you analyze another song 62:06 using this PDF that’ll attach you can 62:09 answer that question like that you could 62:11 also answer the percussion section if 62:12 the form yes and it has a bit to write 62:16 out it gives you a grid of percussion 62:18 yeah so if anyone’s used GarageBand on 62:21 the iPad and you’ve used the drum 62:23 mapping on there you’ll have a grid full 62:25 of percussion it goes across like left 62:27 to right yeah and then you can pick 62:28 which like the bass drum will be on the 62:30 bottom so you pick the square when you 62:32 want the bass drum to play yeah yeah 62:33 it’s like a piano roll but yeah a junket 62:37 yeah so it’s got a diagram with that so 62:39 you can fill that out yeah have fun with 62:41 it just crazy hey put it on and go oh 62:45 there’s the beetle there don’t do as 62:47 long as you like though no I don’t like 62:49 deconstructing music 62:50 like because then you’d like really 62:52 critical of it and then looking and 62:54 you’re like oh no now I’ve now over 62:56 analysed this song and I can’t listen to 62:58 it again without thinking that they’ve 63:00 done that bit wrong not wrong but when 63:03 we tried to do the band thing last year 63:05 yeah well every time I listen to those 63:06 songs now all I can think is like okay 63:08 so what’s in there that the tempo of the 63:10 track 63:10 it’s about 135 BPM okay bass and dubstep 63:14 is it dubsteps usually 120 cases usually 63:18 160 so there you go I don’t have much 63:24 yeah we are both nearly Fae 63:26 I don’t have much to say about that part 63:28 that is the tempo that’s no tempo but 63:31 you know no no I got something so bad 63:32 why you asked me a you asking me you 63:35 asked me one question sorry the tempo 63:37 yeah it’s about 135 right um what do you 63:41 think about that oh not much to say 63:43 about that no no no it’s it’s it’s it’s 63:46 it’s telling you that it’s it’s ominous 63:50 because if you’re really slow it’s sad 63:53 right it’s a ballad in it you know you 63:55 go an AE 80 bpm you’re talking drum and 64:02 bass you’re talking 160 like oh one day 64:09 for 30 shouldn’t be listen to John bass 64:11 have a heart attack 64:12 oh well yeah that’s you I listen to drum 64:15 and bass all the time William I didn’t I 64:17 don’t actually own our own bass but you 64:20 know 135 somewhere in between it’s it’s 64:22 giving you that sort of like oh yeah did 64:31 I explain that with just noises well 64:32 enough yeah I think so I got it okay 64:34 cool yeah that’s fine 64:35 it’s it’s not action-packed yeah there 64:39 will be some action yeah you’ll probably 64:42 be okay from not gonna die of a heart 64:44 attack yet yet all that cholesterol you 64:48 eat link what does he eat what do you 64:50 think links Dyer is mushrooms 64:52 that’s Mario’s diet oh and link so you 64:56 go on maybe this is just on the gameboy 64:57 one but you go and find the magic 64:59 mushroom in the lost the always magic 65:01 isn’t it is you’ve got to go find it and 65:03 there’s 65:04 a raccoon in there and I think you’ve 65:05 got to give the mushroom to the raccoon 65:07 and it stops him from being a raccoon 65:09 and turns him back into the person he’s 65:11 meant to be or you have to actually go I 65:13 think go to the witch with the mushroom 65:15 she makes it into a powder or something 65:16 then you sprinkle the powder on that no 65:18 point link is digested any mushrooms 65:20 white up maybe you didn’t eat it then so 65:23 yeah I just licks mushroom residue of 65:25 his finger doesn’t there’s a lot of 65:28 chickens about maybe use those no they 65:30 get too angry it’s too risky for link to 65:33 eat chickens just a cow essentially um 65:39 all right I’ve got a question here go on 65:43 for it I’ll answer it with words and not 65:45 sounds this time are there are there any 65:47 elements of the music is there anything 65:50 that I know this is the same question I 65:53 had before anything that stood out 65:54 basically that was the same question as 65:56 before I just have a different point oh 66:01 no I said I was going to use words 66:04 yeah no as I said I think it’s it’s 66:06 really distinctively zeldo musik and the 66:10 flute stands out what my point we have 66:13 about the flute I realize this is sort 66:15 of the same question before yeah but I 66:17 had the flu so right when the song 66:19 starts yeah it has the little quick like 66:22 semi quavers on the flute has a live 66:24 really little yeah yeah does that twice 66:26 before the melody starts okay so does it 66:28 ever do that again in this song is that 66:30 part here’s the meat it’s a 24 mile if 66:32 it does it does it is literally a loop 66:34 it’s you know okay cool yeah so I don’t 66:36 they didn’t have the tech to say well 66:38 just play on the first time yeah and 66:39 stop it 66:40 yeah I think if ya had a bit more tech 66:42 you would have just stopped it but it’s 66:44 quite a nice intro it sort of you’ve got 66:45 the cord you’ve got four bars of the 66:47 weird dissonant happy chord dissonant 66:49 chord yeah in between that you’ve got a 66:51 little ring okay nice and I think that 66:53 stood out for me because it’s a nice 66:55 little just to get your attention right 66:58 I think there was only one last question 67:01 which again you’ve already sort of 67:02 answered here is what are the sonic 67:03 colors of the mix is it dark right Sonic 67:06 bloody yeah this is Sonic Colors so so 67:09 this is synesthesia um well not you’re 67:13 not thinking actual colors unless you 67:15 have synesthesia and then you are 67:16 thinking actual colors 67:17 yeah you’re thinking the sonic what is 67:19 the sound of it is it bright and chirpy 67:21 oh is it like everything’s deep you know 67:28 what I mean 67:29 yeah yeah absolutely I just yeah the 67:33 annoying thing is it’s already got a 67:34 color assigned to it because it’s a wood 67:36 based song so it’s green you think you 67:39 know that the synesthesia again though 67:41 you don’t think of an actual color 67:43 I mean like how do you describe it the 67:45 Tom bruh okay well yes it’s yeah it’s 67:49 it’s basically the same question again 67:51 isn’t it because it’s it’s melancholic 67:53 it’s it’s well I had two bits and I 67:56 think I think you’ve got the flute for 67:58 me which sort of symbolizes link because 68:02 it’s quite fast and and all over the 68:04 places that little sword and burn about 68:06 killing things yeah 68:07 but then you’ve got the chords which are 68:09 a lot lower down and the bass especially 68:12 so the bass on the song mostly blasts 68:14 for two beats and it just says that goes 68:16 boom boom it just does like two beats on 68:20 that yes oh it does three beats and then 68:21 one that’s representative the forest 68:24 exactly how did you know because I do 68:27 ever so I for me I we could be looking 68:29 into this way too much 68:31 no how you been analyze a song without 68:33 looking into it way too much that’s what 68:35 you have to do yeah but that’s how I see 68:37 it I see is like you’ve got the chords a 68:39 sort of the danger the bass is the 68:41 forest itself of going it’s big and 68:44 encompassing and slow and then you’ve 68:46 got the flute at the top which is 68:48 mirrored by the thing that’s an octave 68:49 lower and the ermine and that’s linked 68:51 going around the forest take that you 68:54 play the grass exactly hots your 68:57 chickens where’s the Master Sword 69:00 Anita save a princess and that is my 69:03 analysis of the track yeah it’s really 69:06 good 69:06 I like that little I like the the last 69:09 little bit of you saying that’s the only 69:11 better like but I like the last little 69:12 bit have you saying that each and each 69:15 instrument has its individual 69:16 personality yeah and that’s but that’s a 69:19 good way of thinking when you compose 69:20 things isn’t it I think so something 69:22 that I haven’t really done personify the 69:24 instruments yeah well Bob yeah I guess 69:27 is it a pick like 69:29 what was I reading I’ve got a big book 69:32 on the Lord of the Rings music yeah and 69:35 the thing with Lord of the Rings because 69:37 it’s a massive epic Howard Shaw picked 69:39 out 69:40 he made themes for everyone or every 69:42 place yeah and then each thing each 69:45 theme had different instruments 69:46 representing different things so you 69:47 could have when you’re in Hobbiton you 69:49 have the little like piccolo thing doing 69:51 the melody on that but when they move 69:55 out to Bri or whatever is when they in 69:57 there it might still have the same kind 69:59 of theme it’ll be mixed with another one 70:01 but that the main theme that was on top 70:03 is not played on a nice little happy 70:04 instrument anymore it’ll be the same 70:06 notes but played on a different 70:08 instrument I thought you’re gonna say 70:09 the opposite I thought you meant the 70:10 instrument represented the thing so when 70:12 the hobbits like they’re represented by 70:14 the piccolo and when they are but then 70:16 when they’re when there’s well as the 70:18 theme when they meet like aux the orcs 70:21 are like a cello so then yes it’s that 70:24 plus a theme so you’ve got all these 70:26 things coming together at once yeah so 70:29 thinking in that way he writes themes 70:31 for people 70:32 he writes themes for areas and he also 70:34 thinks about the instrument specific to 70:36 the people or the area yeah and then if 70:39 they clash or if they go into a 70:41 different area he might change the theme 70:43 a little bit but he might change the 70:44 instrumentation quite a lot but you’ve 70:46 still got the same familiar kind of okay 70:48 so the whole bits are somewhere else now 70:49 I kind of recognize the tune yeah but 70:51 everything sounds a bit more scary 70:52 because there’s deeper instruments or 70:53 whatever it’s funny because it’s it’s 70:55 like you hear that and you’re like 70:57 that’s really clever of him to do that 70:59 that’s really clever but in a way that’s 71:00 a really helpful brighting tool for the 71:02 composer it actually makes it a little 71:04 bit easier for him I think it gives him 71:06 limitations almost you can’t well this 71:08 is for them so it must be yeah and 71:09 chirpy and yeah and then you can and 71:11 then you can go ah break that limitation 71:13 for this one moment and I’ll twist it 71:15 for this one moment and it’s how I like 71:17 to think of a lot of things is I like to 71:20 have systems yeah like here’s the 71:23 framework yeah go and do that and then 71:25 mess about with it it up yeah yeah 71:27 yeah definitely yeah it’s good how is 71:29 hand Zimmer oh the Shah went to yeah we 71:34 talked about you went to go see a 71:35 composer man well he wasn’t there our 71:37 bloody lair vowel no he was on big video 71:41 screen with a pre-recorded 71:42 in but that came on throughout lots a 71:45 bit so he actually explained all the 71:47 different tracks and that he was the 71:48 orchestra and stuff for playing has he 71:50 got a comical German accent yes 71:51 brilliant yeah cool but you would have 71:54 people on there like Ron Howard was on 71:57 the video as well so he’d be chatting to 71:59 him and sort of like a little personal 72:00 interview in there having a chat on the 72:02 couch and making jokes and talking to 72:03 the audience at the same time 72:05 yeah and idly at the audience at the 72:07 audience yet yeah and then they played 72:09 all his all his music and it was really 72:11 good but there was some stuff that was I 72:13 think specific like they hadn’t 72:14 performed that live or that version live 72:16 before I played it for so they were 72:18 rubbish but the one that got a London 72:22 Philharmonic er Philharmonic Corden no 72:24 it wasn’t it was a it might be in some 72:27 way German one it was it was the same 72:29 Orchestra every time I think yeah yeah 72:30 when they traveled with it 72:31 yeah I think could be wrong I’m pretty 72:34 sure that’s it but the one that got me 72:35 was the Lion King track okay they played 72:39 Lion King and it was the one where 72:43 Simba’s father where his name is Mufasa 72:46 father father I knew exactly what that 72:51 was from that was System of a Down 72:53 wasn’t it yeah it’s the way you looked 72:55 up at the sky The Lion King one yes what 72:59 got me like just like did you get that 73:03 from music when you get goosebumps yeah 73:06 we would only be doing a podcast about 73:08 music if I didn’t feel it happens very 73:09 rarely for me like it has to be a really 73:11 emotional piece something or something 73:14 that I’ve attached a motion to but that 73:15 one I had and it was the fact that 73:16 before that I think he said he wrote it 73:18 with the memory of the lion well with 73:21 the memory of his dead father like when 73:24 his father was dying so he wrote this 73:26 track kind of all with that emotion in 73:28 it and then they played all the stuff 73:29 and yeah and then it was there just 73:32 video of him crying on the show that’s 73:36 so nice but there’s security security 73:42 lady and then it was the halftime 73:45 halftime that’s when it was the 73:48 intermission yeah she came up to me and 73:51 the other two guys as with just like I 73:52 was watching you guys 73:54 you were completely in the moment and 73:55 there’s me go 73:56 oh Jesus like yeah I was in the moment 73:59 and now for the second half I know 74:00 you’re watching me so I can’t enjoy it 74:02 now so what woman came up to you said 74:03 she was security so cheery we knew we 74:06 were right by a gate right like that 74:08 separates half of the thing I am half of 74:11 the stadium stadium not saying would you 74:13 play dota theatre mmm it was the arena 74:17 Oh two arena oh that’s what it was it’s 74:19 not over two anymore is it something 74:20 else I don’t know I don’t know anyway 74:22 we’re at the Wembley Arena yeah not a 74:26 stadium yeah and so there’s like half 74:27 way along there’s a gate big fence and 74:30 she was in charge of letting the 74:31 important people through like our 74:33 security through that gate but normal 74:34 people won’t allow through there oh so 74:36 normal normal us but she was also paid 74:39 to watch you cry a little bit yeah but 74:42 then I knew 74:43 now she’s watching so I couldn’t enjoy 74:44 the second half as much because I was 74:46 very conscious of well she’s gonna turn 74:48 around at some point see much wonder 74:50 yeah watches her watching me it was a 74:53 very sexual evening for you hmm no but 74:56 it was good yeah yeah very enjoyable 74:58 okay cool and having a live orchestra I 75:01 think in front of you you just get 75:02 blasted with yeah you get that thing 75:05 that you don’t know you do get it from 75:07 recorded music but it’s the tomber of 75:09 everything isn’t it and you can feel you 75:11 can proper feel the music and also yeah 75:13 like this might be silly but mistakes 75:16 can be made and I like hearing those 75:18 mistakes when in fact they have people 75:20 on stage who were they had this one guy 75:22 playing some weird wind instrument thing 75:24 for the Lion King and he was like making 75:28 jokes on the stage and running about and 75:30 everyone was like oh he’s crazy 75:34 yeah but he brought it’s like something 75:36 he bought some we doing that during the 75:38 sad song as well yeah yeah do you know 75:43 this is a well rounded question 75:44 philarmonic what does that mean 75:46 no idea okay next google it now 75:49 philharmonic devoted to music that was 75:54 it like latin for that i don’t know this 75:58 just that’s what Philharmonic means it’s 76:00 an adjective it means devoted to music 76:02 devoted to music yep chiefly used in the 76:06 names of orchestras how could an 76:08 orchestra not be devote 76:10 – music – no slack off quite a bit 76:11 forget like to restring no I feel I’m 76:15 Monica enough mate are you casual about 76:17 music really me yeah I’m only practice 76:20 food you know 34 years 76:22 yeah not me that people who didn’t that 76:24 no yeah I’m not that old 76:26 no no you are nope yeah yeah Panzer was 76:31 good Panama was very good 76:34 cool thanks for listening and I hope you 76:41 enjoyed it 76:42 did you enjoy it with it I had a nice 76:44 time nice I had I had a wonderful time 76:47 thank you for letting me come round your 76:49 house as fine thanks for facilitating my 76:53 madness yeah this this podcast yeah and 76:56 everything else that goes with that if 76:59 you want to support the podcast if you 77:01 might not want to but if you do then we 77:03 got a page-one it up it’s got different 77:05 tiers on there yeah but I think I think 77:07 the easier better way for them to it to 77:09 support yes just go on iTunes and say 77:13 this podcast is bloody alright and I 77:17 give it 5 stars I think I think the 77:23 system is out of 5 I think it is so 5 77:26 stars would be tops as they say rate and 77:28 review yeah or if you don’t even want to 77:31 do that because I’ve said that to people 77:33 they’ve been like mate don’t use iTunes 77:34 you know I don’t either 77:36 they like what are you like John I mean 77:38 I’m not a shell I don’t I don’t use that 77:40 iTunes I don’t all the other stuff yeah 77:43 which you don’t have ratings and reviews 77:45 on know who rates the reviews things 77:48 responsible humans I’m not one of them I 77:50 listen to your podcast the way I’m 77:52 gonna support you is say hello and but 77:57 they can say hello you on Twitter 77:59 because Witter we have a Twitter account 78:02 is it composer apps come you’ve got a 78:04 composer cast yeah it’s very simple 78:06 yeah it’s got a picture of both our 78:07 faces on there so they know exactly who 78:10 we are and what we look like 78:11 yeah they don’t need to know what would 78:12 look like if anything sure they do 78:14 but you can tweet us you can ask those 78:16 questions and DMS and really save my 78:20 impression of chaps of you know 78:22 what – that guy right yeah be right if 78:26 you if you think that oh yeah I know 78:28 agree with you do we have to do 78:33 shoutouts no nobody knew was well we 78:36 could we could do we could repeat the 78:37 shoutouts yeah I didn’t know how does 78:40 that work so if people are supporters on 78:42 patreon do they get a shout out every 78:44 episode do they just get a shot if 78:45 they’re a new listener at the moment 78:47 there’s only three so we could do those 78:49 people well there’s no mystery okay yeah 78:52 there is that there is a silent there’s 78:54 a silent helper but you know if those 78:58 numbers get like a hundred they were not 79:00 doing the same people every week no 79:02 that’s a good point okay 79:03 but those are the people who are support 79:05 please Tom James – cheers cheers Cheers 79:07 so I’ll start that again cheers Tom 79:08 James and Kobe chase mate cheers yeah 79:10 cheers all the all you three yeah thanks 79:12 mate okay and if you want that going on 79:16 patreon oh I wanted to be very self 79:22 indulgent sure I was gonna say I’m on 79:26 Spotify now and where is that found oh 79:31 yeah I have a tracfone Spotify I just 79:35 got one I wanted to try out see how easy 79:37 it is to put stuff up there so I think 79:39 we should talk about your experience 79:41 with that next week yeah yeah I’m gonna 79:44 put a link to the track in the show 79:47 notes yeah cuz I can borrow can say a 79:49 bit now as well alright going when 79:52 they’re going to Spotify in search for a 79:53 wheel heavy well and I’ve got one track 79:54 on there it counts as an EP apparently 79:57 noise yeah and it’s called beautiful 79:58 dreamer and it’s an orchestral version 80:01 of a I think it’s a Stephen Foster tune 80:04 from the 1860s Wow you can go called 80:09 Stephen Foster back annuities Stephen C 80:12 Foster I think he is and – check it out 80:17 [Music] 80:29 wait a minute hold in the microphone is 80:32 making some wobbly sounds the the inside 80:36 of your knee is called the poppet hmm 80:40 the inside of your knee is called the 80:42 popliteal fossa sometimes referred to as 80:44 the me pit or here’s well the me pit is 80:46 disgusting yeah or half the half which 80:51 is spelt like cough except with an H so 80:53 it could be how but I’m guessing it’s 80:56 hot I’m guessing it’s off doesn’t say 80:57 I’m going to call them knee pits from 80:59 now on it’s a shallow depression located 81:01 at the back of the knee joint I’m going 81:03 to call it the popliteal fossa okay 81:05 absolute prick there’s some information 81:08 for you listeners well it could be if 81:10 you decide to put this in Willie oh yeah 81:12 blow my microphone rustling and that 81:14 I’ll make decision make a split-second 81:18 decision already made it oh it’s not 81:21 going in [/expand]
We delve into the future of gaming with Apple Arcade and Google Stadia before deconstructing a classic Zelda tune.
- Listen to Will’s track Beautiful Dreamer on Spotify.
- Download the Forest Theme from Zelda: A Link to the Past with this bundle including the midi file, Guitar Pro file, PDF of the notation and a worksheet on how to deconstruct other tracks: Google Drive download link
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