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Music That Goes Above and Beyond in URU: Ages Beyond MYST
Sound Designer Tim Larkin shares his story of what it was like to write music for one of the world’s most popular games.
Massive, immersive and favoring the reclusive, MYST has been one of the most prominent series developed for the PC. Its graphic style was very different, using animated pre-rendered backgrounds in place of the usual polygon corridors. The graphics sparked interest, but it’s the story that held onto gamers and, through word of mouth, MYST became a huge success.
Behind every truly remarkable game, however, is a truly remarkable soundtrack. To guarantee musical success for their latest project, MYST developer Cyan Worlds turned to the Academy Award-winning Sound Designer, Tim Larkin.
Tim has over 10 years experience in the game industry, but his previous projects include more than just games. From HBO films like The Rat Pack to National Geographic documentaries, Tim’s skill, talent and experience made him the perfect composer to take on URU: Ages Beyond MYST.
As you may have guessed, Tim is an extremely busy man. He was reluctant to take time out for an interview, so we tied him up, threw him in the back of a Caravan, and took him to a place so remote that we couldn’t run a TV. (And thus couldn’t play any games…such torture!) Tim still wouldn’t talk, so we offered him a slice of apple pie and some lumber for his home project. Satisfied with our offering, he finally answered our questions.
For anyone who hasn't played URU: Ages Beyond MYST yet, please describe the music in the game.
Tim Larkin:
The music reflects several
things. First it represents a lost culture, with themes for the story,
environments and characters that accompany it. Also it represents the music that
I enjoy writing and listening to with a diverse and unusual palette of
instruments.
What kind of equipment do you use?
TL: Software: GigaSampler, ProTools, Kontakt, Digital Performer and tones of plugins. Hardware: Several Mac G4's, Roland XV-5080, 2 JV-1080's, 2 Kurzweil K-2000's, Roland JV-990, Lexicon PCM 91 and 81, TC Fireworx, Digidesign 888 and ADAT bridge I/O. Sample libraries: Sonic Implants, Ilio and Spectrasonics.
How did you come to work on the latest
MYST game?
TL:
I had done sound design on
Riven while I was working at Broderbund. After that was completed, I kept up my
relationship with the folks here at Cyan, and when URU began over four years
ago, I was asked to help out.
After getting the job did you play any
of the previous MYST games to get a feel for the series and try to imagine what
the next installment should sound like?
TL:
I already knew what Riven
sounded like, and we began working on RealMyst almost immediately, so I was able
to re-familiarize myself with Myst as I added several pieces for new ages and
also added some sound design.
How demanding were the game
developers? What were they looking for, and how much time did they give you to
complete the soundtrack?
TL:
Well, Rand Miller can eat
you for breakfast...Actually; Cyan has been a great working environment. I've
had the luxury (this time) to have had several years to work on the music due to
the fact that we were developing an engine along with the game that added some
extra time to the normal production cycle. What we were looking for in the
soundtrack was something not normally heard in a game. Every time I created
something that was even close to being cliché, Rand would get this funny look on
his face, so I knew I should head in a different direction.
You also designed the sound effects for
the game, correct? If so, what was that like, and how did creating those sounds
differ from creating the music?
TL: Yes, I did sound design as well. Again having done sound design for Riven, I spent many hours on the phone with Robyn during that time so I was pretty locked into the aesthetic. It was a very natural transition to URU as the environments and machinery had the same type of feel and mystery to them. They were all still based on the same D'ni culture as well. Sometimes the sound design can become blurred from the music in places where you might be creating an abstract ambience or effect. There are places in Kadish where I actually used instruments to make random animal calls. They sound exotic, yet somewhat musical. the effect turned out great.
URU: Ages Beyond MYST Original Soundtrack.
Tell us about your work on JRR
Tolkien's Middle Earth.
TL: A long time ago in a galaxy far away... I worked with Sierra Online doing sound design for a year on Middle Earth online. That was almost five years ago. I think Sierra will be releasing Middle Earth Online sometime next year.
How involved were you with The
ChubbChubbs? What were your duties for that project?
TL:
I was the sound designer on
the project, and shared the sound supervisor role. I created all the sfx,
ambiance and produced the Foley sessions in SF. I was also present for the mix
at Sony in LA.
What's the most exhaustive project
you've worked on?
TL:
The deck on my last house.
Oh, you mean a game? I'd have to say Riven. I think I created sound for almost
600 movies and about 45 minutes worth of ambience. There were some long hours
and weekends on that project. It was a great relief when it was finally done.
Composition Vs. Sound Effects: which is
most difficult to create? Which do you enjoy the most?
TL: They can both be difficult or easy depending on the situation and
inspiration. Sometimes a scene will hit you immediately with ideas about the
music and ambiance, other times it's like pulling teeth. SFX are generally
easier to me, although it gets tough sometimes always trying to come up with
something creative or different. I try not to repeat myself in music or sound.
That's the challenge.
What is the longest amount of time
you've spent working on a song without taking a break?
TL:
45 seconds. I have a short
attention span...... What was the question.......
Would you like to do something on your
own or do you prefer to make music for an existing project?
TL: Lately, I prefer doing it for an existing project. My extra time right now is taken up with my family. I think someday I'll get back into writing another album for myself, but in the meantime I have to pay the bills. It's also pretty rewarding to hear your music in a setting enjoyed by many.
What was your main point of inspiration
for becoming a music composer and sound designer?
TL: I knew from the age of four that music was it for me. I began playing piano then, and rarely had a desire to do anything but music in some form. Sound design was a component of music. I was hired as a composer at Broderbund, and they asked me to do sound design as well, so I did.
The master at work.
How did you break into the industry?
TL:
A fluke. I called up
Broderbund because they were first in the phone book under software. They needed
a composer, the rest is history.
Is there a particular instrument or a
number of instruments that you favor when writing music?
TL:
It really depends on the
project. I do enjoy the sound of lush strings and exotic instruments. It's
always fun to weave a Didgeridoo or something abstract into an otherwise
conventional situation. That's fun.
Are there any unique or different kinds
of sounds that you are fond of but have not been able to find a place for in one
of your projects?
TL:
I hear sounds every day that
are interesting to me. Sometimes I'm able to utilize them. Other times I'll try
to mix them in as an exercise to see whether or not I can make them work.
Sometime that comes out great, sometimes it sounds like a bad hair day.
When not composing, what do you listen
to? Who are your favorite artists/musicians/composers?
TL:
I love listening to movie
scores and big bands. If I hear a screaming big band on the radio, I sometimes
have to pull over so I don't get into an accident. Favorites would be Thomas
Newman, James Newton Howard, Hans Zimmer, Gino Vanelli, Frank Sinatra, Tower Of
Power, Chicago and anything that sounds exotic or has a world flavor.
Do you have any other passions? If so,
are any of them as important to you as music?
TL: My current passion outside of music is my wife, kids and friends. Whether it's going sledding with them, playing a game, going on a trip or helping with homework. I think the music probably would take a back burner to most of that. As far as hobbies go, I seem to spend a good deal of time keeping my computers up to date, and I'm also getting ready to build a house, so I'm sure that will become a passion of sorts. Hope it comes out better than that deck.......
Thank you for your time.
For more information on Tim Larkin and his creations, visit:
Tim Larkin Official Website
www.timlarkin.net
URU: Ages Beyond MYST Original Soundtrack
www.cyan.com/urumusic/default.htm
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