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What really is good taste, right? If I work with someone,
and I say, "Hey, we should make a electronic song," and someone else says,
"Oh, we should make an orchestral song." Like who is right? You know it's a taste question.
And these things can't really be explained rationally, in many ways. It's just based on individual taste,
and if you want to trust someone else's taste over your own you know. You can hire as many all-stars,
and rock stars and geniuses as you want, but the better the relationship is that you have
with someone you work with creatively, the better your work will be.
If you don't have relationships and trust, then it's just gonna be a huge clusterfuck.
It's always a challenge to find your meeting room. I never know where the meeting rooms are.
What's up?
Sam, she's gonna work on the Amumu video. She's from London.
Hello.
Yes.
Awesome.
Yeah, I'll dig up some of the old... old uh...
Yeah, it'll be great to see some of the... some of the
Some of the old sketches. They were early sketches. Do we have any
do you have some of the video already done?
No. No
No. Just starting today.
I mean basically today was like we got the budget approved a few days ago so
See, Amumu is a sad zombie who became separated from his zombie parents and never found them again.
Cursed with immortality, Amumu lives forever as a weepy child wrapped in what appears to be toilet paper.
Small, sad-looking with puffy eyes. Slow and smelly, but surprisingly strong.
Always looks sad and dejected. Small body. Big head.
Okay so that was like 2008. When was that?
2000
Yeah, maybe 2007 even.
Oh wow. Two years before the game even came out?
Yeah. It was a simple metaphor, and it's gone a long way. It's good he's getting his own music video now.
That kind of just happened?
Yeah and I think he's a good vessel for it. Like I said, he's maybe just stories that are told.
You know maybe all over in turn. You're right. Like he's a good canvas for a boy in any nation, you know.
So he could be from Demacia or Freljordian.
Amumu, for sure, is the most expensive thing that we've done, as a music team, um that has no purpose.
Literally, there is no business incentive. There's like no - there's like no you know
There's no like promotional campaign tied to it or whatever.
The sole purpose is to do something cool for our players you know and beautiful.
In this video, that's kind of the only thing that we have to nail, which is him as a character,
How our players know him, because obviously we wouldn't want to disappoint them.
Yeah, like a Namibian bandit. Like our character's still gonna be pretty much based on your character.
You know maybe like everything he interacts with is avoiding him. I dunno. Does that make sense?
Christian, does that represent it correctly?
Amumu is such an old character. Players have known the champion for a long time,
Which means that there are certain expectations. I don't want to disappoint our players you know.
So this was the original
This was my take on it you know.
This one creeps me out.
Yeah, the holes in his eyes. He's a nasty little dude.
Yeah I mean well - I mean the - you know Amumu is Amumu. Like we can't really change him as a character
Yeah.
And we shouldn't.
Okay.
Cool.
Yep. See you guys. Bye Christian.
See ya.
Bye guys.
It's like, all right, the contract's signed. We're gonna spend a huge amount of money on this music video.
It has to be the best music piece you've ever made, but you haven't even written anything yet.
Can you tell us kind of what the status of the music - is the music already recorded? Is it written?
Is it finished?
There's no music right now. No music. It's all in my head. It's music,
so you can't predict how it ends up, so it's just like, "Ahh!" I have to actually figure it out now.
You know and we'll see. I mean yeah, we'll see. I don't know yet.
I feel like he's a complex situation for our game and our world, because people are like,
"Well how does he fit in?" And this and that, but like I feel like he's actually - he's a metaphor,
per se, you know that. He fits anywhere you know. There's so much to be done with this character.
Amumu is an exploration. You know it's - I don't know if it will be successful.
The music team at Riot Games started back in the day,
just with me kind of noodling around on blog and stream music tracks. On our music team,
we have Alex Temple, who's a composer, Sebastien Najand, also a composer, Mike Barry, also a composer,
me, also composer. Dan
Um..
I might be stretching my knowledge on the subject, just 'cause I haven't been here that long.
I've only been here two months you know, so
That's fine. Be as liberal and as uncensored as humanly possible.
We all have different strengths on our team. Alex Temple, for example, phenomenal in the traditional sense.
Young, handsome composer. That was kinda weird.
First CD I ever bought was - well I didn't buy it, but it was Beethoven's Fifth Symphony,
and my dad gave it to me. I was uh five I think,
and my parents had to have a rule that I was only allowed to listen to one hour of music a day,
because apparently I was trying to listen to too much.
Sebastien has a really good ear for how to weave electronic music into orchestral pieces.
Actually used to work for Han Zimmer's team.
The first album I bought was the soundtrack for The Rock, by Hans Zimmer. I was - well,
I was 10 when I got really interested in film music, and I started actually using computers to, like,
make music when I was about 11.
Mike Barry. A very, very classically trained classical pianist, and really good opinions.
I like being around people who are really good at things and feel like they're not,
because they're always trying to get better. My first love in music, before classical, was rap.
Going back like to Dre and stuff was the first CDs that got taken away, as a child.
Dan also is a composer. Pretty fresh on the team, and helps us with a lot of production aspects.
I'm not sure exactly how, but I ended up with this video on my computer, right now.
It's what I'm writing music for. I mean, since I'm new, like you know my schedule is a little more open,
So I said, "You know I've got some time. I can... I can work on that."
It kind of started with me, but I am probably the worst out of all of our composers, as a composer,
in the traditional sense, but at the same time, I probably know our game and our players best.
We have Perlman, Tchaikovsky, I don't know who the hell that is, Dvorak, Nat King Cole,
Led Zeppelin number three, Led Zeppelin number two, Frank, obviously.
One of the core ideas of League of Legends is you have these unlikely champions
coming from all different realms, and genres, and times and inspirations,
and they kind of come together in a really cohesive manner, and that, to me,
is the most interesting thing about League and also about the way that we approach music.
If you know your strengths, but even more important, your limitations, then you can really work well together,
as a team. If you have a very sober way of thinking about your team, I think you can achieve things
that are way greater than yourself.
We are all rolling? All good?
Yes.
Cool.
I keep finding myself worrying about like what your piece - like what your piece is, and making sure I'm giving you
the right stuff.
I know, it's
It's - Brandon, don't worry about the cameras. Just tell us what you know.
Right.
Um..
So this is Pan, one of our crazy artists.
Hi, how's it going?
And he's working on the - a Pentakill art piece.
No one has seen this, or
No. No this is - I mean he's still working on it. Can you give Sona a mustache?
Yeah, for sure. A little Chinese type.
Like a curly one.
Oh, it's right here.
It's a good mustache.
Yay.
It looks pretty - it's actually pretty legit, now.
Heavy metal.
Heavy metal, yeah.
Cool.
Oh, I didn't make different layer.
Uh-oh.
I can't get rid of it.
Oh no.
Pentakill originated as this sort of alternate reality where certain characters in the game played in a band
together, and that was enough for a while. And then years later, the music team had this notion of
"Sure, why not?" Like why not have those guys play in a band? Why not bring that band together
and drop an EP?
That note especially. That one.
Too much vibrato?
That's always a little - no, it's always a little flat.
Jesus Christ, my little sister could play that better.
Well, when we record this like the original idea that was so open, you know what I mean? It was like
Well, the first half you're obviously way behind.
You know what? Don't matter here. Stoppin' me in my motion.
I think the second half you can actually be a little more on the quarter notes, kind of grooving.
Except
'Cause right now you're rushing, but just one more time.
Too much stress, man.
I personally felt like it was gonna start as a joke, but it's sort of taken a life of its own.
The quality and the craft that's going into that EP is actually really mind-blowing.
Danny Lohner is a musician. He used to be part of Nine Inch Nails and A Perfect Circle,
and really knows some really cool alternative industrial stuff, so we're working with him, on one song,
For the Pentakill album.
Yikes.
That is creepy.
What's that sword on the wall?
Danny slayed
Excalibur.
Four people onstage one night.
Look at this guy. A flying mouse. You got that taxidermied.
Dude, the craftsmanship of this thing is just like - I mean just look at this wood. You know it's like
It's just this complete brutal machine, and all the other ones you can tell are kind of finished in like a
You know.
What's going on up there?
Yeah, let's just noodle around, right?
Korean people are funkeh.
What's up, Seinfeld?
There's a track she sang on. Is that the one - they have a character. They have a little punk rocker chick?
Jinx? Yeah.
She's fucking hot.
The character?
Yes.
Well, she looks like your type of girl.
Oh, fuck you.
Jinx, is that her name, Jinx?
Yeah Jinx.
I met the girl who designed her when I
Oh, Katie.
Oh, Katie, yeah.
Cool chick.
I made her sound effects.
For that?
Yeah, for that character, yeah.
Oh, wow.
She's cute though, that little character.
Do you want to play Christian, Trinity? Do you want to play?
I don't care. You can play. You're a better player.
We are right now here in Danny Lohner's house. Everybody's messing around with all sounds of
all sorts of sounds and ideas, and we'll probably record some stuff with Jason.
Just a little - yeah like no preconceived idea. Just like do some heavy,
riffy kind of shit that I can fuck with.
The most rewarding thing about working at Riot is the collaboration aspect. If you don't feel that magic,
then you're really not doing it right. That's kind of what we're all here for.
No, you're fine. I'm gonna put the riff on, so you have something to play to.
We started pretty much like every other video game, just with you know orchestral music, which is awesome.
I mean it's my favorite music, but if you now want to do something with character and that's like iconic,
you have to cross borders. You have to use things that might not work out on the paper. You know,
now we're at a point where we can work with maniacs like Danny, and
We could do remixes of that one, too. You could put out like Pentakill or whatever.
Release a lot of the League of Legends music, you know what I mean? Like the orchestral stuff and
No, that's what we're gonna do. We're gonna make a soundtrack, like the first volume, basically.
What makes it interesting too is that we could do the Pentakill remix or whatever.
I mean whatever's cool.
Even the fucking Crystal Method track
Basically we are starting to work on the Amumu music video, and you know obviously,
that also needs a music piece. We talked about it for months and months, but it took a while
for me to actually start to work on it. I'm fucking rusty, but anyway.
I never felt like I actually have the right idea what it should feel like.
I wrote some lyrics basically that - that added some very you know bare bones stuff, so for example,
I recorded basically some piano part that kind of felt like it would hit the right tone.
Shit. My pedal's loose. I gotta do that again.
What the fuck just happened? God damn it. Fucking pedal. Oh.
So there's that.
Nope.
I always wonder how many of our players know that Christian used to be in a German like rock band,
and that you can go online and Google his name and literally find drawings that 12-year-old girls did,
in notebooks, 'cause we knew him for a couple years before that fact came out,
and it was almost like he had been living this weird double life that he didn't want us to know about.
It's like amazing like composer, and then there's like the teenage heartthrob Christian
that has little hearts drawn around him.
Christian started at Riot Games in player support answering billing issues for German players,
and he joined Riot 'cause he's a big gamer, right, and he loved League of Legends,
but he never talked about his past in a cool band, and then ultimately the company started to figure out
that Christian's got all this musical talent, and we didn't really have a music department at the time,
so gradually Christian started composing, and over time that evolved into us taking a lot of musical risks.
For me, this is a very interactive collaborative world. We're just given blank pages,
and we just have to translate that into music. Every bar, every decision that's made needs to be based on
what works for that character, and what does that character feel like?
It's you with this piece of music. You really want it to sound like something that you'd enjoy listening to,
and that someone else might share the same experience with.
We're all gamers. We're all nerds you know.
So what's leading the album? Demacia is gonna be the first track?
Yeah. I think it works really well.
It works better than Nami?
Yeah. I think Nami should be the second one, so it's like diversity you know.
Now we have seven songs done.
Everybody should listen to the masters on there.
Yeah, all right. Let's take a listen.
That was good. Do you guys like that better in the booth?
I think the second violin's a little flat.
And Mike, we had one note that from about 45 on, the choir gets pretty big,
so we can probably have them play out a little bit more.
All right.
Today we're recording six pieces of the soundtrack, here at the Sony scoring stage.
A lot of people. A lot of people. Sir, I didn't know you were gonna be here.
What's up man? Good to see you.
Good to see you, sir.
You doing okay?
Yeah I'm good. How are you doing?
I'm excellent.
Christian.
Sir.
Nice to see you.
Hey Martin, good to see you.
Good to see you too. What's happening?
Well the usual. Hey, good to see you.
It's good to see you too.
Back we are.
Back we are, so are we doing Nami again today?
Getting some sleep?
Yeah, I slept like seven hours last night.
My God.
That hasn't happened in
That's like
Sleeping gluttony.
I know right?
So right now we basically have the best you can get on every instrument,
so all the guys that play in all the movies are here.
We can spend a lot of money doing the recording session. Get all these instruments,
and they make a big ruckus, but if the vibe isn't right, then we've failed in our job.
Why I like our game, as a player, is because it is so diverse.
The champions in our game are all very different. They all have a very different background.
Every piece has to be in like its little sub-universe.
And it doesn't just associate with characters. With Demacia, we had a lot of things going for us,
just by looking at the map. It's a noble world. Hopefully the music paints a picture of the lifestyle
of being a being from a noble culture, and spreading justice around the world.
This is gonna be like the signature chart for the next like series of music, hopefully.
All right, let's go for a take.
Sure.
Here's bar one. Four, one, two.
Okey-dokey.
What do you think, Barry?
I think it's okay. Alex, what do you think?
I really like the way it sounds when it's down an octave, but I wonder how it's gonna sound
when we add the choir that's above it.
They can also come in a little stronger at 29. Not too - you know not
All right.
Let's see more of the moving people, meaning the cellos and the violins too.
Yo. Let's gather over there. Are you ready?
Yep.
We have a recording session tomorrow night with Mark who is a violinist and Cameron who's a cellist.
Really great player, so we have to arrange the piece, and for that like I just needed more brain than
just mine to figure it out you know.
I mean the Jinx music video was the first music video that we created. The logical consequence of
like you know a really successful project like that is obviously, "Let's do more."
Going from the Jinx music video to the Amumu music video probably is the least sensical thing that the music
team could have done. It was going from this huge, bombastic, explosions everywhere, psychotic character,
to this really intimate story about one of our older, less realized characters.
These guys are on the forefront of what Amumu is gonna evolve into. They're running with the character.
Music is actually leading the way.
You know the storytelling possibilities are really difficult, because what defines Amumu?
When Jinx came out, had that purpose of showing everyone in the world who Jinx was,
and hopefully stirring up a lot of excitement for the new champion.
And Amumu really - you know there's no release for him coming up.
There isn't really any good reason to do anything for him, really.
But he could have picked a bunch of different characters to sort of pursue this effort on.
He picked Amumu because he loves Amumu.
It's really just something that's born out of passion and by the understanding that whatever we're going to do
for Amumu has the potential to be beautiful.
The thing is, what I want to do right now, I want to take it away from just being a pop song.
Right now it kind of - it's pretty, but it's too like standard. It's - you know it's very [SINGS].
It's not the most progressive verse, you know. I think it's more a passion to go out there and like
and figure out new things; to kind of break rules.
So I guess the idea would be that it kind of starts out piano.
And then?
Um...
And then.
If you're trying to create something authentic, I think that you know you need to be understanding why
you're making those decisions, and not just sort of shooting, you know, into the darkness.
Then piano reduced with voice. Then the pretty piano again with the violin on top. Then the second verse,
I think, where drums come in.
There's just more resonance.
Maybe that works?
Maybe. Yeah that works the best.
Sometimes we're not sure what style we want to do something, what kind of music we want to do,
for something specific so we'll try different things and see what's best for what we're trying to achieve.
Maybe like a cello in the background, to just give it a little more volume.
What did you have in mind for the scene, for right here?
[SINGS]. Like kind of drastic moving around, but conscious obviously.
I feel like there is always like something that you can hone in on and sort of really make your own,
Whether it's in the production, or just like you know the actual musical notes.
Would you go minor or major?
Major would be really cool if like you're going to a D major chord after that.
Oh. That works.
You're personally invested in it. This is your statement of how you think things should sound.
Hey Adam?
Yeah?
When I - can I fuck anything up on this thing here? No, right?
No, we're not using any of that, so you're good to go.
So we could even like [MAKES NOISE].
If you feel like it, sure.
Who were you saying is a big deal?
Randy Kerber is a big deal.
The pianist.
The pianist.
Why do you say that?
Oh, he's played on just about every John Williams score in the last, I don't know, 25 years or so,
and he is the Harry Potter cellist, the very famous theme from that, he's the shit.
This is supposed to sound a little weird and like the Shaco character is being introduced at this point.
You all know I'm a mediocre conductor, but we're gonna try and go for the free time situation,
because we've had good musical results with that.
It's definitely not some quick slap-together thing. I mean when it goes out the door and to the fans,
like that's the end you know. That's where it ends, and it needs to be great.
It's not just the game itself, but the whole culture around the game, I think, is in that soundtrack.
With the soundtrack, we've been thrown an awesome softball from the guys upstairs, and they're,
"Well, just explore musically, and see what happens."
When you're working on movies or TV, you know most of the time you're just doing it the way that'll get it
done the fastest.
Let's do - let’s do it again. We're gonna do something different in 71.
Cool.
Exploring ideas, and seeing where they go and having the freedom to do that is something that's pretty rare,
I think.
Part of our role is to create an environment where it's safe to have crazy ideas.
If it's a conducting disaster, or the time starts shifting and they notice in the booth, we'll go to takes.
His speech is always so hopeful.
Yeah, I mean I put some parts in there that I figured it would be absolutely impossible to play.
This might suck.
We'll just you know give it to him and see what he does.
The biggest risk is not to take risk, because it then - it just funnels you to sound exactly as everybody
would expect it to sound.
So, Let's just try and make a take.
Off we go.
And zero.
Two, three.
Well?
It's great.
When I got the music and I started my metronome at like 92, and the metronome marking is like 140 essentially,
and the first day that I practiced it, I could only get it up to like 117,
so like that night I was all depressed, and then the next day I'm like, "Okay, try again,"
and I could only get it up to like 127. It was literally like - it took me like four days just to get it
to the tempo, and then the whole rest of the time was like trying to play it at that tempo,
without it sounding like I was like about to fall over.
If you're not failing, you're not trying hard enough, right?
The vibe is what matters, more than anything. We gotta go and just capture the vibe.
It's sort of an association. Does the character make sense with the art, with the lore, and with the music?
This is all one package. And if it does then we've all done our job, and if it doesn't,
We can improve on it.
This soundtrack adds this really cool breadth to our world, a breadth of personalities,
and a breadth of places where all these characters are from. It's gonna be all those worlds collided
into one soundtrack that we can listen to over and over again, and then almost wonder like,
"My God, what could possibly be next?"
Here's a little bit of Nami's Theme on the piano.
I think there are some definite coincidences between what cues are on the soundtrack,
and like what our favorite characters are, in general. I kind of pushed the agenda on Nami,
'cause I just love her as a character, and then here comes the flute
and the piano answers.
We came to Quinn, and it was like, "Yeah that's a pretty nice theme.
I think we can do some damage with that," and then I was like, "We're doing Nami," because I just love
I don't know. I just love Nami. I just - I think she's a well thought out character for people who enjoy
the game, like I do, who aren't frantic clickers, but like to anticipate things in their style of playing.
I've been here for about two-and-a-half years now. I myself have been playing League of Legends for the last
four years. When I look back, I sort of have these really great memories of certain champions that came out,
and that has resonated really well with me, and I think for many of our players, when they hear the Nami
soundtrack, when they hear that soundtrack, it's gonna take them back to that moment when they come home from
work or from school, they click open the game, and the screen comes up, and you see a new champion,
and it's a mermaid. You're like, "Whoa, it's a mermaid." And you hear this da-da-da-da da-da-da-da-da.
Right? It takes you back to those worlds. It takes you back to those memories.
Like when I used to play Warcraft III when I was young, around 10 years ago or so,
I always listened to certain music, and when I listen to that music nowadays, like it pulls me back into this like
It's like this crazy feeling, a really really happy feeling.
I love the Final Fantasy III music. Yeah, it's fantastic. Like when that sting comes on, like when the
da-da-da-da-da, da-da-da like it just brings me back into like victory in battle right.
Our direction to Randy Kerber, the wonderful pianist who played this,
was to do some interesting piano wandering, that's what I have it exactly notated as.
And he naturally did a bunch of this stuff, and he - again he's doing the wave motion,
and later on do I figure out, "Oh yeah, well that's a wave motion, and she's the character from the ocean,"
So this kind of thinking, when you're so familiar with a character, just comes naturally.
Which is the cool thing about working on somebody that you game on.
You know I always dread - when I start these projects, I always dread the process of actually putting
everything together, because I'm like always a little bit afraid of it, because like the concept often is so
strong, and then the only thing that can fail is yourself in the execution, you know?
There's that other section right, the really sad one, at some point, with those different chords?
Yeah. Fuck.
There's gonna be this one moment where Amumu kind of you know has this huge tantrum. The visual,
how I see it in the visual, he has to be like happy. You know he ventures out, and goes through the lands,
and - but he doesn't understand yet. He doesn't know. He looks at flowers, and they're beautiful,
and everything is great, and he has like hope, "I'll find friends," you know, but in the music,
it has to be a complete, really, really hard contrast of, "No, he will not."
He realizes he's always gonna be alone, that he's cursed, that he'll never find a friend. You know,
that's when he has his tantrum. Musically, it has to be the same feel, but it has to be amplified,
by like a million times.
Now are you imagining it to be big and sort of like kind of broad sounding, or more big,
and kind of like a strident aggressive sound?
In five hours or so, we'll have to have those figured out. It needs something where we go,
"Now he knows. Fuck." You know?
No that's shitty. At Riot, we always say that we build the plane midair.
We had no choice but to get it rolling, because the game grew so much that you had to react to, you know,
what our players would like to see, and like and you can't just say, "Nope, sorry.
We'll just leave the game small," you know. It has to be powerful and like yeah. I don't know.
I don't know. Fuck.
So yeah, kind of give me just real quick overview. Kind of sum it up, if you can.
What do you think you're looking for?
What's your name by the way?
Cameron.
Yeah, I mean, use that way. Yeah and then just trail out. Yep. Yeah, stuff like that I think.
Yeah we'll do some takes like that too where we're just screwing around.
Yeah.
"Screwing around" is really not the right word, but playing around.
Do magical things.
Let's say "playing around."
This grows from 17-14.
This studio doesn't sound half bad.
Very spacey. Could be cool to do something really you know realistic.
And that's not written out yet, right?
No. This will just be what everyone do. It needs the right kind of people you know.
Like if we all have the same goal, there's no ego involved. Also with the musicians you know,
all they want to do is create awesome music.
Well I kind of figure just see what he does to that violin section at the end.
Yeah.
There are so many people that care about this character very much, and there are so many elements to Amumu
that matter.
You can't just you know wing it. You can't just like write something real quick, and then it's done.
You have to figure it out, and these things are just not very easy to get you know,
because you can just fuck up.
All right guys, we're gonna start recording in a moment, so here we go.
Let's do it.
So high/low of the night. Anyone can answer. Like kind of lowest point, highest point.
Have him try something else?
Throw that away.
Take 10. Okay 13. Lucky 13.
Let's keep that and go to 14. Lucky 14.
Lucky 14.
I feel like we have like between all those takes we definitely have it, unless you want to do one more run,
otherwise we can move onto the last two bars.
Just one more time I'd say.
Do you think we have it? I think we have it too.
Well we can mess around with click.
Okay let's do another one.
All right. Here we go.
Take 45.
45.
Take 48 coming up.
48.
52.
This is take 55.
Take 56.
He can take this in a lot of directions, I mean stylistically.
One more time.
Take 62.
You can throw that away.
Too much movement.
In the first half.
Yeah in the first half a little too much movement, I guess.
Take 79.
Can we do everything except the last two?
I'm not a violinist, but that doesn't seem right. Like should I write this note,
or should I not write this note? Should this note be an octave higher or should it be loud?
Should it be quiet? If the goal is to create something new, then that's you know,
basically anything's fair game at that point. You're shooting into the darkness.
Take 82.
And thank you. One more time please.
Yeah, you still running a little bit?
You mean rushing?
Yeah, yeah.
The attention that's paid on some of the songs, some of the tracks. You get obsessed over a little thing
in a song that needs to be right and we just keep going. We just keep going and keep going.
You want to do one more?
Yeah, yeah, yeah.
Take 93 coming up.
Fuck.
One more time please.
It's a beautiful piece and it's a beautiful piano melody, but there is something wrong about it.
What do you want to do next?
Alex?
I think we should
We're kind of running out of time.
Let's move to the high glossy harmonics, or unless you think that the aggressive stuff is more important.
So where do you want to go?
One second, we're still sorting this out.
You know, let's do the aggressive stuff, so starting at 103.
That's when he has his tantrum, and so that moment's gonna be tricky.
Where is that?
It's - do you have it in front of you?
It's at 105.
Musically it has to be the same feel, but it has to be amplified by like a million times.
No it should - it has to you know like now he knows, "Fuck."
Just like dig in the - dig in. Right.
On the - when we come in on the 105, can you come in like on - already on like a bold double stop?
Yeah, yeah.
Trust is everything. If that trust isn't there, then it's just gonna be a huge clusterfuck.
There it is.
Yeah.
Yeah.
Yeah.
These pieces are often other pieces where someone sits down and plans it out, but it's just like
it just comes streaming out of your heart.
I remember what I said last time we recorded, that he's the only guy that I heard that
You can't go out and actively learn how to love something. It kind of chooses you,
and then you exist in its little world.
He's not like, "Let me try something," and it sounds dumb.
We're all kind of together
Working on something here, and that's kind of like the most rewarding part.
As cliché as it sounds,
the team, at the end of the day, is like what wins the game.
Jesus.
How is that even possible? How is that even possible?
Sebastien, do you have a low point?
Low point was not having more time to record.
Fuck, man.
Do you have a low point?
I think you always question your own music when you have kind of people like that in the room.
I have to change my song now. I have to change my song now.
Man, fuck. That's great, guys.
Can we mark that as the golden take of ever?
Yeah. 75.
If you have the trust and the relationships to where people are able to join these visions you know,
There is always 50 different ways to do it you know, but it has to be a cohesive one direction,
where everything comes together and wants to achieve the same thing, and if you can achieve that,
then the potential for your work is limitless.
I wouldn't overdo it with the violin either, 'cause I think that the cello has a lot to say.
That's not your usual session where just like, "Hey, read this." I was more like, "Hey, play it like this."
Play like weird shit.
Please play emotionally.
Dude, that score is beautiful, man.
It's emotional.
Yeah, very emotional.
It dials it in a little bit with kind of what Amumu is going through.
Yeah. The tantrum. It's literally like a tantrum on the cello, and like a tantrum on the violin.
Yeah.
In other words, he's like in control of the cello.
No, I'm talking more the piano. The cello's fine.
I think I said it before, but if we create something that strikes this one certain note that reaches the
you know the people that love Amumu and can kind of relate to how he is,
to create this one connection that even no one else will understand, you know
if like 98 percent of our players don't get it, but the two percent that are totally in great with what Amumu
is totally get it, that's perfect right.
Yeah.
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Frequencies – The Music of League of Legends

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HurT_TW published on March 1, 2015
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