Here is a translation of the interview made to the site from early March with the GSC-fan.com Mooze composer, author of some fantastic audio tracks used for Shadow of Chernobyl : The computer game STALKER has been called the Project more "atmospheric" of 2007, from magazines to video games. In addition to the design, architecture and sound design in spirit with the mood of the Zone, the high-quality music is made by the famous composer Vladimir "MoozE" Frey. We suggest you read the interview conducted with Vladimir, where he will speak of music, creativity, participation in STALKER future plans and much more. Give some advice to new musicians.
GSC-Fan.Com : Hello Vladimir! We start with the traditional demand. How and when did you decide to dedicate your life to music?
MoozE : When I was 13 years, by accident I discovered that, with the help of Fast Tracker II, could also record their own samples. From there it all began.
GSC-Fan.Com : You might know that you would become a famous and popular composer for video games?
MoozE : No, but I wanted to see, like all beginners.
MoozE : It happens in both ways.
GSC-Fan.Com : You write songs of various genres, from breakbeat industrial to dark ambient. What kind of music do you prefer? Which is more interesting to work?
MoozE : The range of genres / styles I work with, and that interest me as a listener, thank God, is not limited by ' "industrial to dark ambient breakbeat" ... This is a misconception caused by a simple lack of information about my work and my tastes. I do not understand the composers / groups finding "their way" , strum for decades, and already after 1-2 albums start to copy themselves into a deep slumber creative, as well as the listeners do not understand that simply with 2-3 styles and do not try any way to discover something new.
GSC-Fan.Com : Vladimir, what can you advise to those who want to be composers?
MoozE : The first 5-6 years of creations do not collect the comments of the experts, they serve only to listen to yourself. This is primarily due to the fact that finding a suitable professional who can objectively evaluate your work and give good advice, unfortunately, it is extremely difficult. Although the novizio compositore ha molto talento, è molto difficile vederlo a causa di usuali difetti tecnici che sono presenti nel lavoro di ogni principiante, e non lo accettano per mancanza di talento, anche in audizione professionale. E, in terzo luogo, considerando la "delicata questione" con cui abbiamo a che fare, si può supporre che la maggior dei parte nuovi compositori si prenderà tutte le critiche. E questi 5-7 anni contribuiranno a generare la propria opinione e prospettiva sull'arte e, quindi, a sviluppare la capacità di scegliere cosa o chi ascoltare, e con cosa essere in disaccordo.
– Oggi cè la necessità di trovare il "proprio stile" e il "proprio sound" . Can you magine an actor who has finally found "role" and is ready to dedicate his life to this, and "polish" until it shine? It would be absurd, and we all know that every player is happy for each new role, which is different from his previous work. So why now, when technology offers us an extraordinary opportunity to work with sound and music (and that seem to multiply every year), when the Internet with a few clicks you can find all necessary information on the theory of music and sound, and in general everything about the music, composers, rather than ignore these infinite possibilities, finding "their style" and are ready to stagnate for years and decades? I think it is very stupid and uninteresting. To put it mildly.
- Find your way (not to be confused with the style of which I spoke previously), the most comfortable and convenient for you. You can choose a classical training, it can be self-taught or both of these two options, and learn only what interests you from time to time with the help of the teacher-tutor.
- Develop a taste. Listen, Read, learn as much as possible about the variety of work, art, and a variety of genres and styles of listening. Learn all you're interested, although not strictly related to music. It 'amazing the amount of information that a composer can be found, for example, on a book on the films, articles about design or philosophical works of others. Everything goes through yourself, as your taste. And the taste, in turn, is almost the major force in the work from which we get the art.
- When you are ready to spend a certain amount of money saved for equipment, think carefully if you need it, or whether it is better to pay tribute to the developers of software piracy, which uses any aspiring musician. Believe me, a computer / laptop more powerful software and a good monitor, you can move mountains. A license purchase is a powerful incentivo per imparare ulteriori informazioni su tutte le caratteristiche di questo software.
Tutto quanto sopra, naturalmente, vale per una situazione ideale, quando si può spendere per la musica tutto il tempo che ti serve e scrivere solo quello che vuoi. Nel lavoro con le colonne sonore, o se si desidera la produzione di musica, si deve essere pronti a dare almeno una traccia. Basta ricordare che il lavoro venuto male a volte porta un'esperienza utile.
GSC-Fan.Com : Una volta GSC, valutando il tuo lavoro con le colonne sonore per FireStarter , ti ha invitato a diventare il compositore per il progetto di S.T.A.L.K.E.R. Quali sono stati i tuoi primi pensieri? Hai accettato immediatamente di partecipare? MoozE : It 's all wrong. In 2003, I contacted GSC with the request to test the role of the composer's Stalker, and finally, when I received a reply from them, I wrote a test track, after which they agreed to work with me. But as I wrote the first three tracks (Amb # 1-3), it became clear that I still had a lot of free time, being in waiting for a response from the developers. So I set to work more with the music for FireStarter. Eventually, after the first 3 songs written for Stalker, I waited 6 months to do the soundtrack, in the meantime I had written 11 songs for Firestarter, and then, in 2004, I returned to Stalker.
GSC-Fan.Com : FireStarter is a very dynamic and furious shooter. The music and rhythm must match the style and atmosphere of the project. What helped you to work on the soundtrack?
MoozE : Various materials of the game, screenshots, videos, etc. ...
GSC-Fan.Com : When you were creating a musical accompaniment to Stalker had the opinion that the music had to make a unique atmosphere for the game. What strategies for the soundtrack have been more helpful? What were your impressions of GSC after hearing the initial results of your work? In general, how hard was it to work?
MoozE : The work was difficult, as always happens when you work with a style, but damn interesting. I've seen a number of different radio noise and the sound pure and simple tape, on film, then I scanned the material with a different treatment (not only) for use in music. I wanted to do the soundtrack very dirty and vintage to create the impression that most of the sounds that compose it have been recorded in the '80s, and digitized with the methods of those times. Although not all developers with whom I was in contact in the GSC agreed with my idea. And I also had a bit of "wars" for some of the songs that I put in the game. For example, the Track " Mutation" Did not want to put it in the game. I remember the first impression of the developers when they hear the music in the game. Anton Bolshakov I wrote that "the atmosphere of the game had improved by 400%" ).
GSC-Fan.Com : STALKER After you've decided not to pursue further for the soundtrack of this series. Why? Want to work in another Setor music?
MoozE : I wrote two songs for Clear Sky who liked to developers, but later, when they hear in the game, there were some comments and disagreements about the music, and in the end, have been rewritten. But the rewriting of these songs I would have taken much più tempo di quanto avessi previsto originariamente, e non ne avevo a sufficienza. Ho dovuto lasciare il progetto, portando con me le due canzoni.
GSC-Fan.Com : Se GSC ti richiamasse per fare le musiche del suo nuovo progetto, o per esempio, per il film di Stalker, tu rifiuteresti?
MoozE : No.
GSC-Fan.Com : Che sfide hai dovuto superare per la creazione di musica per i giochi di strategia (per esempio Warfare)? Quali sono le differenze musicali tra le soundtrack degli strategici e degli sparatutto?
MoozE : Non ci sono differenze tra strategici e sparatutto. Le difficoltà possono essere causate da altri fattori, come i settaggi per le campaigns, technical limitations of the graphics engine or the concept of gameplay ... But I do not have these problems, thank God
GSC-Fan.Com : Please tell us your plans for the coming years.
MoozE : The usual plans for world domination. :)
GSC-Fan.Com : What do you think is the more significant outcome of your life? What are the goals you're pursuing now? MoozE : The biggest achievement is probably that I "found myself " . The goals "under construction" are personal.
GSC-Fan.Com : Have you ever thought of abandoning the music and do something else?
MoozE : I thought about doing something else without leave from the music. :) I think the basis of all creative processes, music, painting, literature, etc. ... is only one universal creative energy, with which the composers, artists, writers, work. Everyone does it differently because of the technical processes specific to each specific form of art. So for example, a good director / writer / composer can become a good artist or anything, if you understand the nature of creative energy, and has enough time and patience to learn at least the minimum specifications of a new art form. And then ... increasing the theoretical and practical knowledge, by experience, may, if you want, go from the simple "good enough" , a "very good" , etc. ...
GSC-Fan.Com : find free time for entertainment on the computer, books and movies? Can you tell us what your movie, book, or favorite game? By the way, as you usually leisure?
MoozE : Relax, I do not really know how, because until now has not yet received any kind of creativity, the transition to what would be the best rest. The time for a book, movie or game is fairly easy to find, even on weekdays, because after 3-4 hours of continuous work is needed to take a break, at least for an hour. My favorite games: all the Fallout series, Planescape: Torment, both Diablo, Thief III, MAX, the Gothic series of games, The Elder Scrolls, Mass Effect, Master of Orion 2, Carmagedon 1-2, Blood, Xenus, AIM 2, Arcanum, all compendium of games from id Software, Salammbo, Disciples 2, Strife, Jagged Alliance 2, Arx Fatalis, Titan Quest, Deus Ex 2, Anachronox, etc ... Film: Blade Runner, Baraka, Leon, Apocalypse Now, Alien, The Lady from Shanghai, The Children's Hour, Odyssey 2001, Grand Hotel, Gladiator, Kingdom of Heaven, The Lord of the Rings, The sweet life, Taxi Driver, The Rules The Cider House, Angel Heart, Vertigo, All About Eve, The Bad and the Beautiful ... Books: almost all of Philip K. Dick, "possession" Baillette AS, "The Idiot" by Dostoevsky, "Fear and Loathing in Las Vegas" Thompson's (and film), "We" of Zamyatin, "Ask the Dust" by John Fante, "L 'immortal' and "Prince of Light" of Zelazny, "Lolita" by Nabokov, " Rendezvous with Rama" and "The City and the Stars Clark ...
GSC-Fan.Com : How do you consider the STALKER series? From your point of view have been successful?
MoozE : STALKER: Shadow Of Chernobyl I really enjoyed it. Not I have not tried the expansions.
GSC-Fan.Com : The terrible catastrophe of Chernobyl, which took about 25 years ago, was spiced with stories and legends. Of course, a large proportion of them seem very convincing, but people are still afraid of these places. Tell me, I'd go with an excursion into the Exclusion Zone?
MoozE : If this is connected with the work, why not. But if it were only for myself, I doubt it. Perhaps surprise fans of the music of Stalker, but a spirit in music "dark" on the soundtrack of Stalker, which may appear as a result, following the inspiration derived from the visit to Chernobyl, I am ready to write only in the context of a final "positive" of the game (because despite all the darkness of the atmosphere, Stalker, Fallout or give a strong positive experience for the player).
I do not understand the composers (as well as all the other creative people: writers, artists, directors, etc ...) that have exceeded 20 years and who continue to admire all sorts of "denial" as every 12 -15years, and then devote their entire lives to this kind of creation. This is perhaps even more stupid than " find their own style" .
GSC-Fan.Com : How did you get involved in creating the soundtrack to Gearbox Software's Borderlands? What is your role in the project? Have you ever directly, so to speak, worked with Jesper Kid (the composer of the Hitman series of games)?
MoozE : In April 2007, when I released my promo, I decided to write a letter to Jesper Kid, only to ask for an opinion on the music and thank him for inspiration, since his work has always inspired me , especially the soundtracks from Hitman series, and Messiah. I really did not expect an answer, but to my surprise, shortly after I wrote a letter in which he answered all my questions and eventually asked me to work together, because he liked my music. For I have not worked and Borderlands worked directly with Jesper Kid as session musician, but I programmed the bass. That is, I created some low ethnic and environmental sounds to Jesper, who then used his songs.
GSC-Fan.Com : Vladimir at the end of our conversation ... a few words for the fans of your art ...
MoozE : Thank you all for your support and hope you will forgive me if I have not yet responded to the letters of someone. I have not had much time to write, and I have a poor memory, etc. ... but I apologize to everyone. So just ... sorry! :)
Vladimir, thanks for the interview! We hope you have success in everything that interests you and you enlarge an army already huge loyal fan!
Source: gsc-fan.com , March 3, 2011;
Translation: The Randy Stalker (TGM Italian Stalkers Zone )
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