Ralph escribió:No, no... es que me ha llamado la atención lo de los compositores, y me ha entrado la curiosidad por saber como de importantes son a la hora de "diseñar" una partitura.
Relativo al tema, te pongo un fragmento de una entrevista muy interesante que leí hace mucho tiempo. El juego en cuestión es el Secret of Evermore, y entrevistan a Brian Fehdrau, programador jefe del proyecto:
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CD: Jeremy Soule was a virtual newcomer to the video game music scene when he was hired on by Squaresoft to score Secret of Evermore. Were you impressed with what he was able to create for the game's soundtrack given so little experience at the time?BF: Oh, hell, yes. Jeremy's a savant. He sent in this amazing orchestral demo music, and he was, what, 19 at the time? Something like that. How could we not hire him? He lived and breathed music, and he was good at it. He actually took the apartment across the hall from me for a while, and I think the ratio of music equipment to furniture in there was something like 20:1. If he couldn't play music on it, or sleep on it, I don't think he needed it.
What was really great about Jeremy was his ability to economize and yet still produce great sound and music. Imagine being a guy who is used to full-featured midi keyboards with huge banks of digital instruments, to the point that you can almost single-handedly produce a vast orchestral piece. Then imagine you get a job writing low-fidelity SNES sound and music, with strange and klunky proprietary software, fitting into memory smaller than a single cluster on a modern PC's hard drive. Most people would sit down and cry, and then go out and find another job. Not Jeremy. He muttered a bit, and then made it work. Every now and then, I'd have to go and tell him his budget was a littler smaller than we'd hoped. He'd mutter a bit, and then make it work. He was a real trooper, and a genius to boot. Jeremy's work in Evermore is one of its primary assets. I'm really glad he's gone on to be a big success. I'm not sure it's my place to say I'm proud of him, but I am.
By the way, I've spoken well of our programming staff and Jeremy, but the art and design staff deserve a nod as well. Gameplay and sound are only two thirds of the equation. We had tons of really great content that deserves its own kudos. Our designers, map/script editors, character artists, and background artists were all top-notch, and often remarkably innovative and clever.
(Entrevista ->
http://www.super-nes.com/evermoreinterview.htm)
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En resumidas cuentas, las grandes composiciones que has podido escuchar en SNES, son fruto de un gran esfuerzo, no ya de componer una gran pieza, sino de pelearte con:
* El espacio que te dan libre en el SPC700, porque entre otras cosas compartes espacio con el programa para el SPC700 y los efectos de sonido.
* El espacio que te asignan en el cartucho para tus muestras.
* El tener que pre-masterizar las muestras a base de prueba y error, porque ¿crees que en realidad TODAS las muestras que van al SPC700 están a 32khz?, la mayoría a 8 khz y da las gracias,una vez hecho esto, procura que suene bien a tan baja frecuencia haciendo malabarismos, suerte que al menos el SPC700 cuenta con filtros.
Por esto mismo una gran cantidad de compositores optan por ondas simples + algunas muestras, tales como bombos y snares y algúnos strings.
* La suerte de que no te recorten espacio.
Así que, tal como yo lo veo, el AMIGA es una plataforma más amigable para este menester. Aunque tenga 4 canales, siempre podrás usar los espacios en blanco de canales contigüos para hacer ecos o meter más instrumentación :p (entre otras cosas).
Y si, te limita mucho. Y ya no es falta de creatividad, es falta de medios.
![[tomaaa]](/images/smilies/nuevos2/tomaa.gif "toma")
![[sonrisa]](/images/smilies/nuevos/risa_ani1.gif "sonrisa")
![[oki]](/images/smilies/net_thumbsup.gif "Ok!")
![[boing]](/images/smilies/nuevos/pelota_ani1.gif "pelota")
![[+furioso]](/images/smilies/nuevos/furioso.gif "muy furioso")
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