Seriously, I don’t see enough people discussing how the Halo 5 soundtrack should sound, all I see is people saying what new features they should add or repeating solutions to problems that everyone knows needs fixing, but still no one discusses the Halo 4 soundtrack, what they think of it, and what the next instalment should sound like. I personally thought most of Halo 4’s soundtrack lacked emotion (save for a few), and was mostly action-oriented, to the point where it sounded like generic sci-fi music. I want Halo 5 to change this. I want there to be more unique, emotional, adventurous, powerful music, all around, and have more rhythmic music for battles, like Pursuit of Truth from Halo 2, Covenant Dance from CE, Broken Gates from Halo 2, The Warthog Run from Halo 3, heck, even Cloud City from Halo 4 was rhythmic, (one of the only few good songs from that soundtrack), but by the Prophets, DO NOT LEAVE OUT THE HALO THEME FROM THE SOUNDTRACK. And hey, remember Peril?
I think the Halo 5 soundtrack should be more reminiscent of the original trilogy. And it should be composed completely by Kazuma Jinnouchi, because Neil Davidge is terrible.
I’m a composer myself, so I’d think that I would be a good judge for stuff like that,
> I think the Halo 5 soundtrack should be more reminiscent of the original trilogy. And it should be composed completely by Kazuma Jinnouchi, because Neil Davidge is terrible.
>
> I’m a composer myself, so I’d think that I would be a good judge for stuff like that,
I’m also in to creating music (including composing) and have been for the best part of 9 years now.
“Neil Davidge is terrible” - this is simply not true, infact it is very far from being true.
That is a very uninformed opinion.
Neil Davidge has done an incredible job with the Halo 4 soundtrack.
It may not sound as identifiable as a Halo soundtrack as it should do, but that says nothing about the quality of the actual music itself.
> > I think the Halo 5 soundtrack should be more reminiscent of the original trilogy. And it should be composed completely by Kazuma Jinnouchi, because Neil Davidge is terrible.
> >
> > I’m a composer myself, so I’d think that I would be a good judge for stuff like that,
>
> I’m also in to creating music (including composing) and have been for the best part of 9 years now.
>
> “Neil Davidge is terrible” - this is simply not true, infact it is very far from being true.
> That is a very uninformed opinion.
>
> Neil Davidge has done an incredible job with the Halo 4 soundtrack.
> It may not sound as identifiable as a Halo soundtrack as it should do, but that says nothing about the quality of the actual music itself.
I always found his songs to fall under the “electronic” category, the exact kind of music that I hate… And the bulk of his songs were very bland and inconsistent.
However; Arrival, Green and Blue, To Galaxy, Solace, and Awakening are great songs, and I really think they gave Halo 4’s music a different feel.
Kazuma Jinnouchi is the superior composer, and his songs seem more Halo-ish.
It’s all based on interpretation in the end, and I felt that Davidge’s songs didn’t really move me in the way that Jinnouchi’s did.
Also,
CAN YOU AT LEAST MAKE IT SO WE CAN ACTUALLY HEAR THE MUSIC??
Geez, the only time I could actually hear music (besides ambient drum beats during combat) in Halo 4 was during the first segment of Midnight; otherwise literally none of the good tracks were used at all, or at least in a way we could appreciate it.
Ever wondered what happened to “To Galaxy”? Ever wondered why 117 has such a high view count on YouTube? Both were great songs, just:
117 volume: Default
Everything else: 0.00000000001 decibels.
With me the rock and metal ruined Halo 2’s soundtrack and then Halo 3 sounded all the same, CE,4,ODST,Wars and Reach all felt if they had emotion behind it
> > > I think the Halo 5 soundtrack should be more reminiscent of the original trilogy. And it should be composed completely by Kazuma Jinnouchi, because Neil Davidge is terrible.
> > >
> > > I’m a composer myself, so I’d think that I would be a good judge for stuff like that,
> >
> > I’m also in to creating music (including composing) and have been for the best part of 9 years now.
> >
> > “Neil Davidge is terrible” - this is simply not true, infact it is very far from being true.
> > That is a very uninformed opinion.
> >
> > Neil Davidge has done an incredible job with the Halo 4 soundtrack.
> > It may not sound as identifiable as a Halo soundtrack as it should do, but that says nothing about the quality of the actual music itself.
>
> I always found his songs to fall under the “electronic” category, the exact kind of music that I hate… And the bulk of his songs were very bland and inconsistent.
>
> However; Arrival, Green and Blue, To Galaxy, Solace, and Awakening are great songs, and I really think they gave Halo 4’s music a different feel.
>
> Kazuma Jinnouchi is the superior composer, and his songs seem more Halo-ish.
>
> It’s all based on interpretation in the end, and I felt that Davidge’s songs didn’t really move me in the way that Jinnouchi’s did.
I personally don’t mind the electronic side to his music.
I do agree that it would have been nice to have a bit more of a Halo feel in there somewhere, but I don’t think that this means Neil Davidge is terrible by any means!
If I’m just judging him purely on his ability to create music, then I must say he is excellent.
Possibly not right for creating Halo soundtracks, though I would personally say he is.
I think Halo 4 had some really great pieces, but overall they were poorly implemented.
You’ll notice the difference playing. 117 at the start of Midnight, Arrival in the last part of Midnight are the best examples. The best part of Revival didn’t get heard really during the Didact Cutscene, and the other parts were quiet.
In the Infinity Briefing cinematic, the placement of To Galaxy really sets the tone.
It makes those parts memorable, recognizable. But when other parts that should be dramatic are either non-existent with music or just have something simple and bland… it doesn’t set the tone or make it memorable.
Thats why some parts of Halo 3, for example, stood out more for me. Even though it’d be nice if some of the ones used were changed up a little, you’ll notice Farthest Outpost at the start of the Ark cutscene. Halo Reborn and Greatest Journey in the start of “Halo” and Johnson’s death. Even its placement at the end of the Flood’s final cutscene was nice.
> I think Halo 4 had some really great pieces, <mark>but overall they were poorly implemented</mark>.
>
> You’ll notice the difference playing. 117 at the start of Midnight, Arrival in the last part of Midnight are the best examples. The best part of Revival didn’t get heard really during the Didact Cutscene, and the other parts were quiet.
> In the Infinity Briefing cinematic, the placement of To Galaxy really sets the tone.
>
>
> It makes those parts memorable, recognizable. But when other parts that should be dramatic are either non-existent with music or just have something simple and bland… it doesn’t set the tone or make it memorable.
>
> Thats why some parts of Halo 3, for example, stood out more for me. Even though it’d be nice if some of the ones used were changed up a little, you’ll notice Farthest Outpost at the start of the Ark cutscene. Halo Reborn and Greatest Journey in the start of “Halo” and Johnson’s death. Even its placement at the end of the Flood’s final cutscene was nice.
> I think the Halo 5 soundtrack should be more reminiscent of the original trilogy. And it should be composed completely by Kazuma Jinnouchi, because Neil Davidge is terrible.
>
> I’m a composer myself, so I’d think that I would be a good judge for stuff like that,
I agree with your analysis completely. That being said the guy who is doing the Spartan Assault music is pretty good, and he understands and respects the halo sound. I would love to hear them work together like Marty and Mike.
> > I think Halo 4 had some really great pieces, <mark>but overall they were poorly implemented</mark>.
> >
> > You’ll notice the difference playing. 117 at the start of Midnight, Arrival in the last part of Midnight are the best examples. The best part of Revival didn’t get heard really during the Didact Cutscene, and the other parts were quiet.
> > In the Infinity Briefing cinematic, the placement of To Galaxy really sets the tone.
> >
> >
> > It makes those parts memorable, recognizable. But when other parts that should be dramatic are either non-existent with music or just have something simple and bland… it doesn’t set the tone or make it memorable.
> >
> > Thats why some parts of Halo 3, for example, stood out more for me. Even though it’d be nice if some of the ones used were changed up a little, you’ll notice Farthest Outpost at the start of the Ark cutscene. Halo Reborn and Greatest Journey in the start of “Halo” and Johnson’s death. Even its placement at the end of the Flood’s final cutscene was nice.
>
> Agree 100%.
