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  • [MUSIC PLAYING]

  • TAKESHI FURUKAWA: My initial contact with this project was

  • from Tommy Kikuchi over at Sony Music Publishing.

  • He had approached me

  • about submitting a demo for the game actually.

  • And I believe it was a number of composers who had submitted

  • demos for Ueda-san to listen to.

  • And I guess I had done something right

  • because I was chosen to be the composer for the game.

  • The reason why I chose Air Studio is for its acoustics.

  • It's known for a very lush and gorgeous sound

  • and for the London Symphony.

  • It's one of the best orchestras in the world.

  • Good morning, everyone. Thank you for being here.

  • I would definitely say the high point was stepping in front of

  • the orchestra and having that first note played.

  • It doesn't get better than that.

  • [MUSIC PLAYING]

  • I think we had about 92 players,

  • and that really brings the organic magic into the score

  • that you cannot get out of a digital instrument.

  • It has been challenging in the sense that the game Ueda-san has

  • made is so unique and very delicate.

  • It has a lot of heart.

  • When I first started thinking and conceptualizing the score,

  • the main thing was to try to isolate and minimize the amount

  • of elements that are going to go into the score.

  • For me the compositional process for the Last Guardian I think

  • was more like sculpting, trying to find the essence of the

  • score, and carving away or taking away.

  • It's actually a subtractive process.

  • The game is very, very unique and it's magical.

  • I've been laboring over the score to try to make sure it

  • doesn't pale in comparison to the wonderful visuals.

  • So I hope you enjoy the music as much as I did composing it.

  • [SCREECHING ROAR]

[MUSIC PLAYING]

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ラストガーディアン - メイキング・ザ・ミュージック|PS4 (The Last Guardian - Making the Music | PS4)

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    ping に公開 2021 年 01 月 14 日
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