I really love his pieces for this game, he makes it so special that not only the game grabs you, even the music; It surrounds you in a way ... that cannot be explained.
How do you typically start out scoring such an important section of a game? Do you begin with motifs established previously and build on that? It's incredible to see such a large and complete ensemble but I'd really love to know how the process starts
It's always different. In this case, it was one of the last pieces I wrote for this score, so I had all the basic motifs already worked out and it was a matter of bringing them together in some hopefully exciting way!
@@awintory In my opinion, the fact that the piano was introduced basically for the first time as a major instrument for the games soundtrack in this particular piece made it stand out a lot, in a way that made the old motifs recognizable but something felt different (I assume in order to symbolize how Jacob and Evie working together was something old but also something new). All in all a very interesting piece
This grooves so hard, it works perfectly for boss music. Also, I love how you approached the piano in the entire score as this hidden instrument, something that is always there but only in this confrontation with Starrick you give it the opportunity to be seen in all of it's glory. Little things like that make pieces like this so much more rewarding.
There's something captivating about music that I can't quite grasp. I feel that music in video games gives a soul of their own to the game, another layer of identity. Which is amazing!
I hadn't realised till I read the notes here that Jacob gets violin and Evie's instrument is the cello, but it's so obvious now. I particularly love the moment of them being in perfect sync. Is the (non-solo) piano kind of Starrick's instrument, as it's the fight with him, or did he not get one?
@@awintory Still, I connect the piano more with Starrick in this piece (in my opinion). This could be because we see him playing the piano once (after we kill Pearl). Also, kind of like the piano, Starrick remains rather unseen throughout the story - except in this grand finale, where we face him in all his might.
Is it just me or does the string soli at 2:01 sound like Hans Zimmer's Interstellar theme?? Either way, the track (as usual) is MASTERFUL!!!! Bravo Austin!
I even enjoy the many orchestral works of John Powell (especially his scores for the How to Train Your Dragon trilogy and Ferdinand), Joby Talbot (most notably his work on Illumination's Sing franchise), and Nintendo's Ryo Nagamatsu (who scored games like Wii Sports Resort and The Legend of Zelda: A Link Between Worlds and Tri Force Heroes).
4:15 to end is just so heart-wrenchingly beautiful given everything that came before. I wished this 5 min piece was even longer (especially the part from 4:41-506) =).
That's very kind! And for the record, if you listen to some of the other tracks, they are closer to that! ("Churning Seas of London" and "For Those We Loved")
When it comes to dense counterpoint parts like this, do you tend to piece it together by notation, by ear, in midi or perhaps it really varies each time? As always, thanks for these videos!
This was all written in my DAW (Digital Performer). At this stage I only do notation at the tail end, when preparing for recording sessions. In prior chapters of my life, I would make major changes during orchestration (like contrapuntal ideas or whatnot) but now I make sure all that is there before the copying process begins
@@awintory I'm always amazed when people can write material in a DAW that looks like it was composed with notation in mind. I definitely still have to go back and forth between copying/programming to get things right. Thanks for the answer.
@@awintory I really mean it. This music fits so beautiful to the 19. century in London. And your composing is so far eveloped. I think you are one of very few game composers that are even able to compose polyphonic and this alone is amazing. I hope very much that you return as composer for Assassin's Creed some day!
Ultimately I kind of felt bad for Starrick. He only became brutal because he was trying to restore order due to the Frye twins dismantling literally everything
![Assassin’s Creed Syndicate E3 Cinematic Trailer [EUROPE]](/img/1.gif)
Your songs really bring out my musical side.
I really love his pieces for this game, he makes it so special that not only the game grabs you, even the music; It surrounds you in a way ... that cannot be explained.
How do you typically start out scoring such an important section of a game? Do you begin with motifs established previously and build on that? It's incredible to see such a large and complete ensemble but I'd really love to know how the process starts
It's always different. In this case, it was one of the last pieces I wrote for this score, so I had all the basic motifs already worked out and it was a matter of bringing them together in some hopefully exciting way!
@@awintory In my opinion, the fact that the piano was introduced basically for the first time as a major instrument for the games soundtrack in this particular piece made it stand out a lot, in a way that made the old motifs recognizable but something felt different (I assume in order to symbolize how Jacob and Evie working together was something old but also something new). All in all a very interesting piece
Love the very classical almost mozarty feel. (Could be totally wrong I'm no musical genius) 😂
Actually one section is VERY much like a Mozart sonata....
Oh heck, I get where you get that notion from and I can't describe it, either ^^'
@Austin Wintory I love your Ac Syndicate soundtrack, Bloodlines, and also Underground. Greetings from Poland 🇵🇱
Austin you are a great composer and the music is very memorable 🎵🎶🎵🎶
This grooves so hard, it works perfectly for boss music. Also, I love how you approached the piano in the entire score as this hidden instrument, something that is always there but only in this confrontation with Starrick you give it the opportunity to be seen in all of it's glory. Little things like that make pieces like this so much more rewarding.
His pieces never bring me down.
you're a mad man. 4:43
That is the one I asked for ! Thank you so much for this!
Glad you enjoyed it!
Austin, I listen your music and then it gets stuck in my head.
So much tension xD and then a such smooth ending
That low violin/ high cello contrast is just AMAZING...
There's something captivating about music that I can't quite grasp. I feel that music in video games gives a soul of their own to the game, another layer of identity. Which is amazing!
Perfection 🙌
One of my favorite tracks in this game! I have been waiting for this video for a long time. My dream has come true! Thanks Austin!
I hadn't realised till I read the notes here that Jacob gets violin and Evie's instrument is the cello, but it's so obvious now. I particularly love the moment of them being in perfect sync. Is the (non-solo) piano kind of Starrick's instrument, as it's the fight with him, or did he not get one?
The piano is more about the order of Assassins. You hear it only in the prior 'white room' sequences after making the target kills.
@@awintory Still, I connect the piano more with Starrick in this piece (in my opinion). This could be because we see him playing the piano once (after we kill Pearl). Also, kind of like the piano, Starrick remains rather unseen throughout the story - except in this grand finale, where we face him in all his might.
it's really Amazing greats job 👏✨
Khachaturians mascarade and Saint Sáenz danse macabre had a beautiful child by the hands of Austin wintory. Rejoice!!!
Is it just me or does the string soli at 2:01 sound like Hans Zimmer's Interstellar theme?? Either way, the track (as usual) is MASTERFUL!!!! Bravo Austin!
Not a single dislike on this vid!
This fight scene was insane
And only I can hear the exhaust of the locomotive's air? 1:40
This is really the Best sound track in video games!!! [maybe as good as witcher 3 ;-)]
No. This is good, just nowhere near as good as TW3's soundtrack.
I even enjoy the many orchestral works of John Powell (especially his scores for the How to Train Your Dragon trilogy and Ferdinand), Joby Talbot (most notably his work on Illumination's Sing franchise), and Nintendo's Ryo Nagamatsu (who scored games like Wii Sports Resort and The Legend of Zelda: A Link Between Worlds and Tri Force Heroes).
Hey Austin, what's your favorite ost of all time?
Too many to choose!
4:15 to end is just so heart-wrenchingly beautiful given everything that came before. I wished this 5 min piece was even longer (especially the part from 4:41-506) =).
That's very kind! And for the record, if you listen to some of the other tracks, they are closer to that! ("Churning Seas of London" and "For Those We Loved")
Mr Starrick! You forgot to escort me home!
Would love to see a video explaining how the orchestra works, for fans not for professionals.
What do you mean exactly?
@@awintory what are the machines, who plays what, how does it work in general, for someone who can't even read music.
Can you please tell me whats the percussion instrument that is involved in 1:52?
Drumming on plastic paint cans!
What agerasia is this piece.
When it comes to dense counterpoint parts like this, do you tend to piece it together by notation, by ear, in midi or perhaps it really varies each time? As always, thanks for these videos!
This was all written in my DAW (Digital Performer). At this stage I only do notation at the tail end, when preparing for recording sessions. In prior chapters of my life, I would make major changes during orchestration (like contrapuntal ideas or whatnot) but now I make sure all that is there before the copying process begins
@@awintory I'm always amazed when people can write material in a DAW that looks like it was composed with notation in mind. I definitely still have to go back and forth between copying/programming to get things right. Thanks for the answer.
THank you so much for this! Can I download the sheets anywhere? Syndicate had to best game music ever composed!
You're too kind! And for now, this is the only resource I'm afraid
@@awintory I really mean it. This music fits so beautiful to the 19. century in London. And your composing is so far eveloped. I think you are one of very few game composers that are even able to compose polyphonic and this alone is amazing. I hope very much that you return as composer for Assassin's Creed some day!
Ultimately I kind of felt bad for Starrick. He only became brutal because he was trying to restore order due to the Frye twins dismantling literally everything
My god. Wat is that violin. Plugin?
All live musicians
@@awintory And this is why I want to be a professional. Beautiful!
Perfect. Just need a little 808🤣🤣🤣🤣🤣
The music when theres 5 minutes of the exam left
Watched a clip of the final boss and the use of music is so individual. Too many games are scored the exact same way.
That's very kind :)
4:04
Is this a secret marketing tactic to demo to Ubisoft you want to compose the next AC?