Editing Halo: Combat Evolved
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{{Main|Music of Halo: Combat Evolved}} | {{Main|Music of Halo: Combat Evolved}} | ||
[[File:HaloSoundtrackCover.jpg|200px|thumb|Cover art.]] | [[File:HaloSoundtrackCover.jpg|200px|thumb|Cover art.]] | ||
''Halo''<nowiki />'s soundtrack was created by [[Bungie Studios]]' audio director, [[Martin O'Donnell]], alongside his longtime collaborator [[Michael Salvatori]] | ''Halo''<nowiki />'s soundtrack was created by [[Bungie Studios]]' audio director, [[Martin O'Donnell]], alongside his longtime collaborator [[Michael Salvatori.]] It received a large amount of praise from many critics. Martin O'Donnell has stated that his goal was to provide "a feeling of importance, weight, and sense of the 'ancient'."<ref>[http://web.archive.org/web/20070301150741/http://www.xbox.com/en-US/games/h/halo/themakers3.htm '''Xbox.com''': ''Just the Right Sense of Ancient'']</ref> He designed the music so that it "could be dissembled and remixed in such a way that would give [him] multiple, interchangeable loops that could be randomly recombined in order to keep the piece interesting as well as a variable length". Development involved the creation of "alternative middle sections that could be transitioned to if the game called for such a change (i.e. less or more intense)."<ref>[http://www.music4games.net/Features_Display.aspx?id=24 '''Music4Games''': ''The Use and Effectiveness of Audio in "Halo": Game Music Evolved'']</ref> | ||
Martin O'Donnell has remarked that he "sat with the level designers and 'spotted' the level as though it was a movie, with the knowledge that the music would have to be malleable rather than static... [T]he level designer would tell me what he hoped a player would feel at certain points or after accomplishing certain tasks". Based on this information, O'Donnell would "go back and develop appropriate music cues, then have the designer script the cues into the level, and then we'd play through it to see if it worked as desired."<ref>[http://www.music4games.net/Features_Display.aspx?id=24 '''Music4Games''': ''The Use and Effectiveness of Audio in Halo: Game Music Evolved'']</ref> He explained that the use of music in ''Halo'' is sparse because he believes that "[music] is best used in a game to quicken the emotional state of the player and it works best when used least", and that "[if] music is constantly playing it tends to become sonic wallpaper and loses its impact when it is needed to truly enhance some dramatic component of game play."<ref>[http://halo.bungie.org/misc/gdc.2002.music/ '''halo.bungie.org''': ''Producing Audio for "Halo"'']</ref> | Martin O'Donnell has remarked that he "sat with the level designers and 'spotted' the level as though it was a movie, with the knowledge that the music would have to be malleable rather than static... [T]he level designer would tell me what he hoped a player would feel at certain points or after accomplishing certain tasks". Based on this information, O'Donnell would "go back and develop appropriate music cues, then have the designer script the cues into the level, and then we'd play through it to see if it worked as desired."<ref>[http://www.music4games.net/Features_Display.aspx?id=24 '''Music4Games''': ''The Use and Effectiveness of Audio in Halo: Game Music Evolved'']</ref> He explained that the use of music in ''Halo'' is sparse because he believes that "[music] is best used in a game to quicken the emotional state of the player and it works best when used least", and that "[if] music is constantly playing it tends to become sonic wallpaper and loses its impact when it is needed to truly enhance some dramatic component of game play."<ref>[http://halo.bungie.org/misc/gdc.2002.music/ '''halo.bungie.org''': ''Producing Audio for "Halo"'']</ref> | ||
