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For example, “ We do have some very aggressive spaceship flybys which still after experiencing it a thousand times brings me joy and shivers.
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This includes music, sound effects, dialog production, and whatever else you can think of inside the full sonic spectrum of a project.” A game set in an entirely imaginary environment like deep space and otherworldly structures obviously creates challenges for an audio team. “ My role as Audio Director is to shape the audio vision of the game following the overall game vision and tonality, but also to build an audio team around the game and make sure all aspects of game audio are covered. The role of audio director and what that entails may vary from studio to studio, but it’s clear that Muckenfuss had a very significant guiding hand in the sound of Chorus. The result was amazing, in my opinion.” Role of Audio Director For example, Nico created some amazing instruments which were based on the actual vocals from Úyanga.
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One very curious aspect about the score is, as I always do, that I worked with some of the best synth programmers in the world to create a more unique score: Stephan Baer (aka Sonic Underworld), Nicolas Jaussaud (aka Yuli Yolo). I do have to highlight our lead vocalist in this soundtrack, Úyanga Bold, who did fantastic work in the main theme and several in-game tracks. “It is a very modern take on classical SciFi Shooters. but I tried to record as much as I could to make the soundtrack as good as possible, especially orchestral strings,” Camacho explained. “ It is a hybrid score so there are a lot of samples in percussion, synths, etc. As with many scores for videogames, film and other media, the soundtracks are blends of live musicians and digital sampling. Obviously, the human voice plays a large role in the music for a game titled Chorus, but solo and ensemble vocals are often processed and layered with exotic instruments and synths to create unique colors. On game music I am very inspired by composers of the late 80s, early 90s, as well as fabulous Amiga games and SciFi/Action Arcade Games like Shadows of the Beast (David Whittaker), Chaos Engine (late Richard Joseph), Project X (Allister Brimble), and, perhaps, one of the tracks that I loved the most… when I was a child: Dragon’s Breath Main Theme (David Hanlon).” In the end, though, Camacho is “ influenced and inspired by good music no matter its origin, music that makes me feel something or makes me travel somewhere, I think this is the real power of music.”
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On the film side, I must say I get very inspired by Hans Zimmer, Thomas Newman, and James Horner. After Bach maybe Ravel, Debussy, Stravinsky, Steve Reich, Arvo Pärt. “ My influences come a lot from Bach and some who came before him like Palestrina. The list was long, as it so often is with contemporary composers. Speaking of style, I asked Camacho, who is Portuguese and intimately involved in the musical culture of his country, who and what his primary influences are.