Sound & Picture - Issue 5, 2016

Revelation Online is a massive multiplayer on- line role playing game set in a robust open
fantasy world. Composer Neal Acree talked to us
about composing the game’s epic, vibrant score:
“When I was starting out 18 or so years ago, the
opportunities to learn about the composing pro-
cess and workflow were limited to a couple of
college classes and an out-of-date book.” Acree
was fortunate enough to serve as an apprentice
to acclaimed composers Marc Shaiman, Richard
Marvin and Joel Goldsmith. “Marc [Shaiman]
would play everything into the sequencer in real
time using a piano and strings patch, then draw
in the midi dynamics afterwards. Having a the-
atre background, Marc would essentially score
the scene in real time then adjust the sequence to
fit after the fact. Joel [Goldsmith] would play ev-
erything in with a volume pedal rather than draw
the controller information in. This is a great way
to get more realistic and dynamic performances
quickly. Joel mixed as he wrote, so when the cue
was done, it was done.” The lessons Acree learned
have had a lasting impact. “Everyone finds their
own way, but if you’re lucky enough to get some
real world advice from someone a little further
down the road from you, that’s a great gift.”
A composer writes a linear score to play out
over the course of a film; the music is synchro-
nized to specific scenes, with each note timed
to enhance the visuals. A video game presents
a different set of musical considerations: “The
question with games is, ‘How will the music be
implemented and experienced?’” explains Acree.
“If the music will be interactive, then it must be
constructed in layers to allow the game engine
to fade the individual layers of tension in and out
as the gameplay requires. Or, the music must be
constructed in cells so the music can change with
the players’ choices, like a ‘Choose Your Own Ad-
venture’ book. If the music will be triggered or
occur randomly in a particular zone, then the
music can paint with broader strokes to create a
general feeling.”
Acree also notes that a composer must be