![]() Some of the aspects weren’t that convincing. One was, there just weren’t enough sample sounds. But there was still an aspect of the score that I was really - two aspects of the score that are similar, that just inherently bugged me going out the door. Whoever heard of doing swing in a film-noir game about skeletons? So in some sense, it felt sort of like a gift at the time. There was definitely a recognition of it when the game came out. So there was this aspect of the score that I was really happy about. Hunt Christian, the cello player, he’s a new-age artist. Just a really awesome collection of folks. Derek Jones, the bass player, has played with all kinds of folks, from Jay Leno’s band to - I was lucky to get this guy Ralph Carney, not to sound like a name-dropper here, but he’s Tom Waits’s main lead player. ![]() I look back at the folks who played on the original tracks, it’s just awesome. We were able to do a really nice job with some super-talented Bay Area musicians. I was always very proud of one aspect of the score, which was that we were able to do nice live jazz recordings for a game in 1998, which was - in those days, that was not very common. ![]() Peter McConnell: In my mind, it probably happened about the time the game was originally released. ![]()
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