In the thrilling conclusion of our chat with Boing Boing’s Xeni Jardin, Matt Ganucheau and I explore deep thoughts about the roles of interactivity and adaptivity in music and game design — then attempt to dance in giants Katamari Damacy hats. (Note the use of the word attempt — those things were more than a bit tricky to move in. Hilarity ensues.)

Prior to leading a dance dance Revolución, we talk a bit about the ways in which game design relate to gesture in musical interface and how musical scores could become non-linear. The gesture issue really goes well beyond games to the fundamental question of how to relate to music physically — and, in a way, awkwardly-dancing musicians may be a fitting metaphor. Or parable. Or something or other.

We do it all for you.

I really did find this a fascinating way to promote discussion, so if you’ve got suggestions for future broadcasts, I’d love to hear them. You can even think of new silly things for us / guests to do.

See also, related:
Troels Folmann on the boiled waterphone-style instrument, sound design inspiration
Troels on “micro-scoring” adaptive music

For part the first:
GDC: Music, Video Games, and Interactivity – Chat with Boing Boing Video

Play this track:

Play this track:

Play this track:

Play this track:

Play this track:

Award-winning composer Troels Folmann has made a name as a video game composer on the likes of the Tomb Raider series, as well as espousing new ideas about adaptive music for games like his “micro-scoring” methodology. But speaking to a roomful of composers and sound designers at the recent Game Developer Conference, he turned to the topic of reinvention. Even having perfected signature sounds that keep him in demand on jobs like blockbuster feature trailer soundtracks, Troels challenged attendees to get out of their usual habits and comfort zones.

And that means torturing some instruments. No, really torturing them: breaking sticks, destroying drums, warping instruments, and boiling waterphones (putting the whole instrument on a stove).

Human beings, of course, shouldn’t be tortured – to get the best sound of them, you want to get them drunk. (I want the Drunken Eastern European Choir sample library, Troels!)

Speaking excitedly in run-on sentences that clipped one another – a bit like sample in and out points were set wrong – Troels revealed some of his latest sampling explorations and sonic secrets. It was, truly, one of the best talks I saw at GDC – and unquestionably the highest idea and inspiration – to – time ratio, even if you weren’t into sound. Here are some of the gems from that conversation, along with some of the lists of bizarrely-combined sampled instruments in recent compositions.

I was looking over my notes and wondering if I should polish them. But then, I realized that I had transcribed all the things Troels said that interested me. If I put them all in a jar, I could take any one idea out on a day when my musical reserves were dry and be inspired. So I’ll share them with you in exactly that form.