From MIDI to Live Soloists: Slay the Princess Soundtrack Breakdown
When working on video game soundtracks, the most important thing is meeting deadlines. The second most important thing is providing a unique sound. The best way to breathe a unique tone into your track without breaking the bank is with soloists. Whether it be a vocalist, a cello, or someone banging on a trash can as a form of percussion, adding the human element into a piece is a sure way to make it sound better and more unique.
Easier Than Ever
It’s easier than ever to add a soloist to your work. Too difficult to prepare the score for them? That’s fine, most soloists are fine receiving MIDI only. Worried about the mix? Don’t worry, they’ve recorded before and will send you all the files you need to blend it seamlessly with your existing virtual instruments. It takes so much off the composer’s plate to write a cello part and to hand it off to an actual cellist and say, “Here, now it’s your problem.” You’re going to receive something infinitely better than any dynamic automation that a virtual instrument can achieve – a level of humanity that wasn’t there before.
When to Record Live
This isn’t an anti-VST post though…I’m in the box 99% of the time! VST’s are incredible today with high quality sounds. However, there are so many nuances that you’ll hear from a professional soloist that simply can’t be replicated, even with the best samples. So when the budget allows, it’s worth it to hire someone. This cost is usually out of pocket, but is affordable. Most soloists that I know can knock out whatever you need for about $100 or so per track. If this is still out of your budget, you can find cheaper options if you look. Soloists are hungry and want to work, especially if it creates a relationship and potentially future work.
Lasting Relationships
The relationship side of this is massive. The soloist that I work with the most is vocalist Amelia Jones (Hollow Knight, Alan Wake II, Slay the Princess). We’ve worked so closely together that we speak a similar language and we work fast together. I’ll reiterate how important speed and deadlines are here. I see soloists as tools for my toolbox. I’ve been collecting different folks for various instruments and I know I can call on them to help me out. I can trust that they’re going to deliver on time and not put me in a tight spot.
Along with the professional relationship comes actual friendship. It’s so much fun to go to a conference like GDC and hang out with the people who helped elevate my work. I cannot overstate how important the sense of community is in this industry. Our composing work is incredibly stressful and isolating. Forming friendships with like-minded people is crucial. They’ll also introduce you to more people and your circles of friends (and tools in your toolbox) will grow.
To recap, hire soloists (or find friends to record cheaply). There is no downside to working with other people and stirring a bit of humanity into the mix.
