SpecialAgentBoB

Sounds really good where your going with this. I actually have to say it reminds me alot of Harry Gregson-Williams. Keep it up.

Really good, hopefully your friend does use it.

I dont find anything wrong with it, though if you want - I can probably help with you on finding a decent lead if your still looking.

It's been a while, though it may have seem a while - I am nearing completion on part 3 which is the final part. Here are three previews for a good listen. Also here is the cover art album. If there is any problem of trying to listen to the preview tracks, just let me know. 1. Barney Rescued - The Plan 2. Half-Life of Freeman (End Credits) 3. Snipers

Could you describe what kind of sample this may be, in other words - does the sample sound have a sine effect? Does it sound like a synth? Or a possible pad? Does it sound ambient or does it have a slight hint of a melody?

Im wondering if anyone here have played Fallout 3 and if anyone did, have listened closely to Inon Zur's music within the game. I have but since its so ambient sometimes I miss out when Im playing, so I am wondering the music I have done can resemble the music within the game itself. What I have done here is create two themes. Washington D.C. Wasteland is a theme that represents itself as part ambient and part action. When I begin working on the full alternative score, I will actually break up the piece and create a individual tracks of both. Fallout 3 Main Theme is the theme that in ways represents the Brotherhood of Steel but also represents the main theme of the game. Are are some quick downloads: Washington D.C. Wasteland Fallout 3 Main Theme

This will hit me at times, usually I stop what Im doing, close down my program and just watch tv or something to get my project off my mind. After many hours, I will have the need to go back and work on the music and the block is pretty much gone.

Alright I just want to update anyone who is following, Part 3 wont be released this year. Currently Im trying to finish up a album while at the same time creating new music for part 3. Part 3 is just as big as Part 2 so it's gonna take while. Hopefully, I want to aim for a late january release. After I am done with Half-Life 2 Alt. Score, I am going to be moving on briefly with Fallout 3 Alt. Score before going to Half-Life 2: Episode I Alt. Score.

Yeah I honestly cannot wait.

Alright here is Part 2. Enjoy it. Download It

I remixed the twinkl twinkle little star song from Dead Space, majority of the dark ambience is mine while the song is from the game itself.

Ok so heres a sneak peak of the upcoming Part 2 which is larger than Part 1. Ambience of The Highway Back To City-17 Eli's Lament Find The Power... ...Run Like Hell

Alright here is part 1 for download, hope you guys enjoy it. Download It

Alright I am almost done, currently Im mastering the last four tracks. Due to college and everything, its kinda slow but it hasn't stopped me, so I will give you guys a bit of a description to each track. On a side note: The original Route Kanal that I posted here was actually suppose to be Water Hazard so they have been switched. Sorry about it. 1. Wake Up Mr. Freeman (Atmospheric introduction into the world Gordon Freeman will enter, electronics to represent the presences of the Combine that has establish itself. It ends with electronic thumps as the G-man ask's Gordon to wake up.) 2. Welcome To City-17 (Another atmospheric introduction to City-17, this is currently the theme for City-17 when the player is in and exploring the city.) 3. Freeman Escapes (When Gordon enters the apartments, he soon discovers that he needs to escape from the Combine. Electronic 'siren' rings as a electric guitar begins to place the pressure upon Gordon. It soon enters into a rhythmic drum pattern that signals the escape. The rock motif is heard. This is the first time we hear Gordon Freeman's "Action Theme") 4. Kliener's Lab (Soon after Gordon is rescued by Alyx, we enter into Kliener's lab, this is the base theme for Dr. Kliener. This is represented with a soft ambience with hollow bells in the background.) 5. A Red Letter Day (When Gordon is transported back to Kliener's lab on the outside, he must soon find a way to Black Mesa East. It starts off slow with very low electronic 'sirens' that represent the Combine's alert to Freeman's accident with the transporter. We soon hear thumps once again as Freeman takes hold of the crowbar, it then enters into a rhythmic pattern once again with the electric guitars. This represents Freeman's race to Black Mesa East. It then ends with the drums as its not over yet.) 6. Route Kanal (After killing two Combine CP's, we begin to hear a fast movement of electronics but in a threatening way. Next we hear 'water' electronics that represents the soon to begin watery path that Freeman will take. New electronics enter the phase as the Combine CP's begin to chase down Freeman. Note that the rock motif is not featured in this track as Freeman is now being chased by the Combine. He is not in control of the situation but must now leave the area before further Combine forces enter the area. It ends the same way as it began.) 7. Water Hazard (Electronics enter this phase as now we will begin to hear both the rock motif and the combine's electronic motif. The electronics soon fade as Freeman's rock motif enters this phase. It soon quickly takes off into a rock motif that will represent the chaotic trek to the next outpost.) 8. Evaporation (This atmospheric track is to represent the times when Freeman is not under attack but is solving puzzles or exploring in the episode of "Water Hazard". Low electronics that sound like bee's flying is to represent the threats that loom overhead. This track would also fill in when Freeman aquires the hunter chopper machine gun.) 9. One Free Man (A "tick" that is soon followed by a low key piano pattern then quickly with an electronic "siren" but now heard louder is to represent Freeman's venture into the building where torture took place and to open the gate of the dam. The rock motif is introduced back as Freeman is back in control of the situation. This phase is electronic with a mixture of rock to describe that Freeman does battle with Dr. Breen's CP's.) 10. Combine River Assault (Electronics are quickly introduced at a faster pace - 160 bpm to be exact. Freeman is now on the run as the Combine forces begin to close in on him. Electronic "water" is introduced aswell as threatening electronic drum patterns. Rock motif of Freeman is little as the Combine are in control of this situation. This phase of the track is to represent the Combine's assault on Freeman.) 11. The Trap - Hunter Chopper Appears (The track begins with drum patterns with electronics as a representation that the Combine are in full control of the situation. They place Freeman in a trap and Freeman must unlock the dam. A drum and bass follows as Freeman is hunted down, the Hunter Chopper appears to attack Freeman. Soon the electronics are mixed in with the rock motif is shown but only in drum form for Freeman when Freeman unlocks the dam and chases away the chopper.) 12. The Hunted (Electronic drums and sequences are introduced, a sort of low key drum and bass. This represents that the Combine are quickly placing Freeman under extreme pressure.) 13. The APC Ambush (A short track with electronic drums and sequences as Freeman escapes the ambush.) 14. Combine Hunter Attacks (Harsh electronics are introduced with electronic fill in of guitars. Drum patterns soon follow as a fill in theme for Freeman. A threatening pounding of the Combine "siren" theme is soon heard in its full glory. Freeman now must take on the Hunter Chopper alone.)

There is, I remember FakeFactory was able to implement new music from film scores into the game in the form of the realism mods. Though from what I hear, it can be a bit of a mess to handle.