AngelCityOutlaw

It matters because the question was what matters more to people. If you're just speaking in the general sense, composition is, but I think we all know that it goes deeper than that. Because in music where the composition is simplistic, redundant or textural, your ability to create a good recording with high-quality, impressive sounds is paramount because without it, the music isn't very interesting. Horror film scores are the perfect example of this.

I don't watch anime series, so I don't know, but any anime movie I've seen from the last 20 years has used just as high budget, usually orchestral, production values as any other animated film. At least, to my memory. Perhaps the oldschool sound is something trendy or just characteristic of anime soundtracks? In either case, I doubt most are going to be doing many anime scores - so I'd still be cautious in suggesting that composition, in reference to "notes, chords, etc." is always going to trump "production" values.

I'd like to point out that films require music to be done on an extremely tight deadline - often just a few short months at most. There is just simply not enough time for a composer to compose, mix, sheet music, get all the recordings back to mix them again, etc. Hence, the labor is divided and the recording facilities have the people and means to take those recordings to a finished mix asap. That doesn't the composer isn't able to do these things and that you wouldn't be expected to deliver a mockup that sounds really close to the finished recording production-wise. To paraphrase Paul Haslinger in an interview on YouTube a few years back, "the only way you could probably still sit and play a piano piece for a director and convince him to record it, is if you're John Williams". As far as I've seen, the only people scoring major motion pictures that still work just with pen, paper and piano are the guys who've been doing this since the 70s and have their own staff. James Horner had people who just did VST and Synth mock ups of what he wrote on paper. So if anyone reading these last few posts take-away here is that you can make it as a film/game composer with your Sibelius mock-ups and saying "it'll sound great when it's played by an orchestra" because someone else will do the "production" and orchestration parts later on high-budget projects that only a minority of composers ever get to work on anyway, you'll likely be disappointed.

Bastion on the car is just too good.

I am extremely envious of this man - he has it all. Awesome job, glorious hair, bombshell red-head girlfriend...

Wait Matt Mercer plays the game? That's badass!

I hear they also accidentally nerfed Mercy...

The repeat legato seems like a nice touch.

Thanks! It really does. The impulses are some "catharsis" ones. I think it was a fairly standard, Sm57 slightly off-axis setup.

Very nice!

I think whether it's lame or not depends on if it sounds like it was just plugged in there to break up the monotony or, if in just a few words, it speaks to the vibe of music itself or gets you pumped for what comes next. SUPERSTITION, FEAR & JEALOUSY!

I'm not disagreeing with any of that or saying that people shouldn't aim to be good at both if they can. I'm just simply saying, depending on what you're doing, X may be more important than Y.

When I said "I would" I mean to say "I do", but it's one of those things where the tone in which I imagine myself saying it doesn't translate in text. My second point is that in music that supports the emotional impact of a picture, you do not have to be Bach to create something that works well. A simple chord or drone in lots of cases would be perfect. In such cases the "presentation" for lack of a better word though I want to say "production" and overall awe-inspiring sound is going to be more important because you can't rely on flashy or memorable melodies like you could in say, a round in a fighting game.

I would agree with what Neblix said, but I think there are cases where production is more important. For example, there is a composer on YouTube named JJay Berthume, dude is really good with "traditional" scores and he's really good at that John Williams, classic style. He said something in one of his videos that I think is definitely true. In a lot of video game scores, they tend to be more concerned with the composition aspects of the music. For example, Twilight Princess (lots of Nintendo in general) or Demon's Souls didn't really come out that long ago and people just love the music. The samples they used are absolute garbage, though. This is something I've still noticed in games and tons of soundtracks have an intentional retro aesthetic. In film, the purpose of the music is ultimately to support the picture and to do so on incredibly tight deadlines. In such work, your ability to create something that sounds both very realistic and contextually appropriate timbres outweighs writing elaborate, memorable melodies because a lot of it can just be chords, drones and ambience. I think this is something that is obvious in modern film scores: They tend to be very minimalist, but hire the best orchestras and easily have some of the best sound design.

@Sir_NutS They're nerfing Torb's turrets. Only on console so far, though http://gamerant.com/overwatch-torbjorn-turret-nerf/

In my attempts at getting the desire and drive to compose music back, and for the sake of testing some new guitar tones with the Legion freeware amp, I made this the other day I think I could turn it into a song with vocals, but even if that doesn't happen, I think this is a satisfying metal tone. Let me know if you agree or not.

The "realistic" result from the Shreddage Demo still sounds really phony Cool tutorials all the same.

I'm obviously no famous composer @Meteo Xavier, but I have had the opportunity to sit at the same table and eat greasy bar food with people who have impressive careers in the video game industry. They have all said exactly the same thing: "You've gotta network and get involved with the community" and attend meetings and places where enthusiasts and professionals alike come together. I've had a better success rate and just more fun this way than any online method. It's dishonest to suggest that repeated advice is simply due to a lack of originality or some sort of conspiracy. Rather, it means that this is the most effective method of getting into a job where you can't just put in your resume and wait 7 - 10 business days for them to get back to you. Therefore, connections matter. It is unlikely that you will find good ones on indie dev forums.

To be brutally honest No. There are tons of people on indiegamer forums hopeful to score games. I only ever had one positive experience with such sites - it just happened that I lucked out, on GameDev.net I think, and the guy who hit me up was a former Ubisoft art director, i.e., a credible person, who was making his own game. That was like, five or six years ago now and while the game was good, it sold poorly. Anyone else, I've lost count of how many, I ever heard from was shady as fuck. People who've never made a game before promising "profit sharing" and wanting you to sign contracts that look like they were written by a fifth-grader. Really, these people are just looking to screw you since they have no idea what they're doing and because they don't deal with you face to face, they can slink back into the shadows at a moment's notice, leaving you with nothing. If you want to do media composition for serious, you have to get out there and network. Find out what kind of trade shows, game dev networking meet ups, etc are going on in your area. This is where the people who mean business will be. You live in America, so that means things like PAX Prime, GDC and the many IGDA groups are far more feasible for you to travel to (I assume) than anyone else who doesn't live in the USA. Go to these things, but remember, it can and often does take years of building relationships. Also, try not to limit yourself to just games. A lot of people are just hell bent on video games for some reason. I mean, they offer a number of creative benefits for sure, but there are talented film-makers, animators etc. out there too. Hope some of this helps!

I prefer my music at 24fps, anyway. It's more "cinematic" that way *adjusts hipster glasses*

I'll admit that I've sort of lost interest in the game at the moment, though I've lost interest in basically everything at the moment, so I haven't tried these changes yet but the only one that seems weird to me is making it so that you have to wait for WM's scope to completely zoom out before zooming in again. Judging by the cinematics, the gun transforms really quickly, so it seems logical that it wouldn't have to collapse fully. I also don't see how it made her OP. Scoping out after every shot and then being able to reposition quickly and accurately by zooming back in seems more like a mark of skill than an unfair advantage.

Here's something interesting http://gamerant.com/overwatch-stats-website-wins-kills/ From a sample size of 800,000 players, Symmetra tends to be on the winning side the most with Torbjorn being 2nd. Mercy and McCree being the lowest.

No. Also, holy necro-thread.

Oh, also Kat was talking about hit boxes with Hanzo or something earlier. The issue is not that his arrow has a big hit box, it's that your character does. You can even try this in practice mode. Aim above the shoulders or just above the head and it counts as a headshot.