Greg Roberts

Upon selecting the 1991 arcade release of Street Fighter 2 as the game to analyse and take inspiration from, I was tasked with researching the compositional techniques used by the composer, Yoko Shimomura. This provided many examples I could consider implementing in my original compositional ideas, such as the use of ternary form, development of simple melodic motifs repeated in a circular motion, use of non-harmonic tones to create a sense of tension, and modulating to different keys.

Highlights of techniques I adopted include the use of non-harmonic tones in the lead melody (i.e. chromatic and non-chord based diatonic notes) returning to the tonic to reinforce the primary key, shifting the key of the melody line by a semi-tone (compared to the chords) to generate an unsettled feeling in the player to keep them on their toes, consideration of different cadence types (e.g. imperfect and plagal), and the inclusion of chromatic mediants in certain chord progressions.

The instrumentation was sourced from various Soundfonts that covered Street Fighter 2 arcade and Super Nintendo releases, along with other Capcom arcade games released during this time period.

While not my first attempt at non-linear composition, this was the most comprehensive approach thus far. It required research to understand the principles and techniques that are specific to video game music in order to create what could be considered congruent with the imagery, emotion, and story being told by the game. The player needs to feel a sense of association between the game environment and the music, through its ability to align with the space the player finds themselves in. The music itself has to be considered appropriate for the genre, so listening to what was composed for the game (and reference tracks based on the same game genre) was important in directing my decisions with respect to the sonic palette.

The use of different musical “blocks” is important, with my compositions considering block types such as intros, loops, transitions, tags, and stingers, using each correctly to drive the action and progression experienced by the player. Documenting compositional ideas for each block was useful as a starting point before turning to the tools. Considering visual aesthetics, key, tempo, modes, and harmony were important, as well as the inclusion of a leitmotif idea that would be heard across several compositions as a means of creating a link between them (and also signifying something of importance occurring in the game).

The primary instrumentation was based on Spitfire Audio’s BBC Symphony Orchestra pack. I created a template in Ableton that grouped the instruments based on type (e.g. Woodwind, Brass, Percussion, String) and articulation (e.g. long, tremolo, ostinato). Additional effects and samples were added underneath with the video track at the bottom. Using this template across all of the video assets I created allowed me to be more efficient with my time and consistent with the musical tone and style.

Four track EP representing various styles of Drum & Bass throughout the decades. Multiple techniques were applied across all four tracks, with many being discovered as part of my initial research activities.

Three of the tracks were mixed by me, with one being a collaboration with a professional audio engineer as a means of seeing how they applied the mixing process as well as being a great learning opportunity.

My mixing approach was to create a new project for each stage, moving from importing dry stems, to gain staging, EQ, managing dynamic range, effects, panning, automation, metering (and referring to reference tracks) and listening back through professional monitors to identify problem areas to fix. Having sessions for each stage meant I had a means of “rolling back” to a previous session if I needed to.

The mastering process used a template where I applied final EQ, compression, and limiter (Ozone 10).