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[LGTX]

From the Mass Effect 3 Facebook page:

We're officially announcing our team of talented composers who have played a critical role in Mass Effect 3's musical development, with direction by our audio team. The roster of composers for Mass Effect 3 includes:

• Clint Mansell, Golden Globe nominated Hollywood composer recognized for scoring celebrated films including Black Swan, The Wrestler and Requiem for a Dream.
• Christopher Lennertz, Emmy nominated Hollywood composer known for his work on the recent movie Horrible Bosses, also composed Mass Effect 2: Overlord, Mass Effect 2: Lair of the Shadow Broker, and won the Interactive Academy Award for Medal of Honor.
• Cris Velasco, known for composing the God of War series’ score, has also worked on downloadable content Mass Effect 2: Kasumi and Mass Effect 2: Arrival.
• Sam Hulick, veteran to the Mass Effect series having composed the score for Mass Effect, Mass Effect: Bring Down the Sky and Mass Effect 2.
• Sascha Dikiciyan, video game industry veteran, known for composing the score for TRON: Evolution and the scores of Mass Effect 2: Kasumi and Mass Effect 2: Arrival.

“The magic of BioWare games has always been the emotional power of the story, so music is extremely important to the experience,” said Casey Hudson, Executive Producer of the Mass Effect series. “With Mass Effect 3, we’re taking players on a more personal journey, even though the scope is bigger than ever – an all-out galactic war! Each composer has played an intricate role in delivering the combination of epic scope and delicate emotion that will make Mass Effect 3 the best game in the series.”

Listen to the teaser music and let us know what you think about this great team! 

Modifié par LGTX, 19 décembre 2011 - 07:11 .

[Rob Blake]

Glad you're all digging the news and the music!

[Rob Blake]

The direction for the Mass Effect music from the beginning was to have an orchestral score with certain elements replaced by synths in order to create an interesting retro-futurism style that gave it a 'timeless' quality... thus working well in sci-fi and lasting us through the years.

If we'd made something modern sounding at the time when ME1 came out then it would either feel very dated now or we'd have to change the style to keep it 'modern'... thus losing a bit of identity and character with the franchise.

Likewise, if we had a purely orchestral score it would lose its sense of character and identity, becoming too generic and pulling you out of the world and feel that we're trying to create.

There is no intention of changing this style at all. We did push it a little more towards orchestral in certain areas of ME2 because it was a darker story with more thriller/horror inspired moments at times. But that has no reflection on where we're going with ME3. It is it's own story with a whole lot more ups and downs, interesting characters and locations but most of all with far more emotion and plot twists than we've ever had before.

Now, sometimes we bend the music rules for effect on specific scenes where we want to focus more on the emotional angles (which orchestras tend to work slightly better for as they're more expressive and culturally more emotive) or the techy/stylistic angles (which synths are much better at portraying in the ME universe) or even intensity/action (which both angles can emphasize in different ways). So basically, we try to find the most suitable style or feel for each particular moment.

Thanks everyone