Synthesis —> Aleatoric: Part 4
I'm working out the inevitable kinks that arise converting synth sounds to classical instruments. I wanted more practice. Limbo is my favorite video game of all time – it is a masterclass in game audio and sound design. Luckily, I don’t have to worry about writing this EP in middleware, I can choose when to execute musical moments however I please. So, for this exercise I focused mainly on timbres and tone color. There’s not much music theory going on here, but the vibe of the original soundtrack is what I wanted to capture.
Here is the original main menu track from the game:
And here is my conversion to orchestral instruments:
One of the tricks I learned doing this is how well Aleatoric ideas work for converting ‘unnatural’ sounds to classical ones. So that’s what I did. My version is a combo of the the Sonokinetic Espressivo library and a sizeable number of other strings patches performed with little regard for tempo.
It's another piece of the puzzle for the EP. And it's convincing me to push the music into darker territories.
I started Aaron Copland’s book – excited to share more. But in the mean time, I found this sentence in the intro illuminating.
It reminds me how important it is to genuinely listen to your piece as you write. You have to adapt and react to what it feels like - to what it's telling you. Writing music is less architecture and more archaeology. Some days, I feel like I’m simply aggregating ideas instead of creating them.