we thought were weaker tracks from
the original and asked Sony if we
could write them from scratch; fortunately they agreed. It helped that
we intimately know the formula to
write MediEvil tracks, so it was just
a case of applying this to new tracks
— armed with all of the knowledge
we’ve acquired from writing for orchestras for 20 years. We loved having this opportunity to write something new, and fortunately Other
Ocean and Sony greenlit them immediately, hoorah!
S&P: Which instruments did you
use to bring the revamped world
of MediEvil to life?
B&B: The most important aspect
was that this time, everything was
live. In fact, to enable the level of
interactivity we’d like, we recorded
legato strings and rhythmic strings
separately, same with brass and
woodwind. We added percussion and
choir on top. This gave us unprecedented control in choosing which
stems to play at any given moment.
In addition, we had the idea
of creating a spiccato string line,
a separate string line which would
run through the whole of each track,
mostly doubling the tempo to give a
rhythmic impetus to each cue, which
we could bring in and out to taste.
We experimented with playing lead
lines on different solo instruments;
we played percussive and percussion instruments ourselves and experimented with adding solo lines
to certain cues. The aim was to have
so many options that you could play
these two-and-a-half-minute original length cues for over 10 minutes
and not hear a repeated line.
S&P: Which programs, systems,
and plug-ins did you use?
B&B: We write everything on Cubase 10; we both have identical Windows systems for ease of porting
sessions. Plug-ins wise, most of our
sample libraries are played through
Kontakt. A fair number of libraries
— on the strings alone we used a
combination of Spitfire Professional
Studio Strings, LA Scoring Strings,
A selection of Bob & Barn's instruments
Sir Dan explores the dark secrets of Gallowmere