For DX:HR there are around 200 pieces of music, spanning a 25-40 hour game. I spent a lot of time building the main themes and then build everything else around them. For the SC:DA score there was much less music, and the music was also very melodic which in my opinion made things easier to put together. McCann: I would say more challenging than Splinter Cell: Double Agent. GB: How challenging was it to come up with original tunes for this game and was it more or less challenging than working on the Splinter Cell: Double Agent score? This electronic / acoustic hybrid is something I’ve been experimenting with a lot in past projects, and is definitely apparent in the track Watchtower – a track I wrote while on break from the game in 2009. To reflect those very human themes, the score needed a strong acoustic side which took the form of vocals / acoustic instruments. Reading the script for the first time really opened my eyes to how big the game world really was. What I didn’t expect when starting the project was the very strong philosophical / religious / political themes that permeate the story.
Even though the music changes intentionally to reflect changes in the story, I was also changing over that time, and bringing new ideas / techniques to the score. I worked on the score off and on for over 3 years, from 2008 to spring 2011. What started out very electronic in 2008 became quite a bit more organic in 2010. McCann: The soundtrack evolved quite a bit actually. GB: When you signed on to do the Deus Ex: Human Revolution soundtrack, did you already have an idea of what direction you wanted to take the music or was it something that was established after going over a lot of concepts with the rest of the team? In some regards it seemed like you were a perfect fit for the position, especially after listening to the song Watchtower.
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