This lets our level designers turn certain tracks on and off at will, and we can also apply real-time effects to individual channels. Each of these instruments tries to express some component of that genre mash-up.įrom an implementation standpoint, I wanted to try something I had never tried before: multi-channel music! For Transistor, every piece of music in the game consists of multiple stems playing at once, which we can then manipulate individually in real time. To help out with this process, I tried to create a genre for myself to work within, which I ended up calling “Old-world Electronic Post-rock.” After a lot of experimentation, I zeroed in on electric guitars, harps, accordions, mandolins, electric piano, and synth pads as some of the primary textures in the game. By selecting a handful of instruments and using them to varying degrees throughout all the pieces in the game, I could connect the pieces to one another sonically, even though the content of each piece was very different. For Transistor, it was also important to me to define the sonic palate of the game overall. What should the piece feel like? If I start with a particular feel in mind, this dictates a lot of things about the piece right away, such as tempo, production aesthetic, tonal palate (happy, sad, major, minor, and so on), and gives me some useful constraints for how to proceed. The main thing that I try to focus on when composing is vibe. “I tried to create a genre, which I ended up calling ‘Old-world Electronic Post-rock.'”
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