Got my own Destiny Beta CD for the car now too! :D

In a word... spooky.

"The" composer?

Michael Salvatori became a Bungie employee in 2011, according to Wikipedia. I've seen nothing about his departure. Maybe he's still there?

I stuck with a singular for the sake of discussion as opposed to getting into the specifics of the situation. Would have been better served had I written composer(s). Question still stands tho'.

Edit: spelling.

I know there are tons of extremely talented folks at Bungie, but what to do when the composer is gone is going to be a difficult nut to crack. Do they hire someone like John Powell perhaps, a new name has to render their own signature which could fundamentally alter the musical direction of the game, no? Or, do they elevate from within, someone saturated in the existing themes of the soundtrack?

"The" composer?

Michael Salvatori became a Bungie employee in 2011, according to Wikipedia. I've seen nothing about his departure. Maybe he's still there?

Interesting.

Within cutscenes I don't know why they'd do it differently than everyone else.

During interactive sequences I suppose they might be anticipating the player's perspective changing quickly and that the shift from all center to some multichannel balance to create a position might sound awkward--

I was only talking about the audio during cutscenes. I don't honestly remember how it is during the game. A lot of games actually don't seem to use the center channel at all during interactive stuff. Naughty Dog does, and their audio options are always top notch.

How could you create positional audio for characters in a cutscene only using the center channel?

You don't. At least in the film world, if someone is on screen, they are on the center channel. Generally the only positional effects are for characters offscreen. Which makes sense, since everything on screen is center of your view.

If someone walks off camera, then they'd come out of a different channel.

Halo 4 and Halo Anniversary are mixed this way (dialogue on center), but Bungie games seem to have the dialogue on the center and L and R at the same time. Dunno why.

Interesting.

Within cutscenes I don't know why they'd do it differently than everyone else.

During interactive sequences I suppose they might be anticipating the player's perspective changing quickly and that the shift from all center to some multichannel balance to create a position might sound awkward-- I know I've heard that before in games with combat chatter, that sometimes when you get an ally directly behind you they sound louder than when they're directly in front of you-- presumably there's a balance issue between the volume of the character in the center channel and when they're on rear left and right.

It literally broke my immersion playing that mission for the first time, because I thought "Wow, this music is SO GOOD". I think that's what that article meant when they said Marty's music was so good it was distracting :-p

How could you create positional audio for characters in a cutscene only using the center channel?

You don't. At least in the film world, if someone is on screen, they are on the center channel. Generally the only positional effects are for characters offscreen. Which makes sense, since everything on screen is center of your view.

If someone walks off camera, then they'd come out of a different channel.

Halo 4 and Halo Anniversary are mixed this way (dialogue on center), but Bungie games seem to have the dialogue on the center and L and R at the same time. Dunno why.

Maybe snag it from the cutscene library? It's all in 7.1 surround so you might get clean separation.

I do know that the speaker cutscene has some echo as his voice bounces around the room in the rear surrounds to give a cool effect which might interfere with the music, but check them and see if any channel pairs have clean music. I think music is on LR, which may not have any voice at all but I don't remember. It's easy to check though.

Edit: Nah. Bungie continues to do it the "Bungie way" by putting voice on L and R channels in addition to the Center.

How could you create positional audio for characters in a cutscene only using the center channel?

I can see how it is inconvenient for certain fan purposes, but...

Amazing stuff! Wow! Marty has outdone himself again.

I haven't listened to every second of every song, but does this include the theme that plays during the "To the Tower" cutscene? Here is a link to the theme I am talking about. It is one of my absolute favorite themes of the beta:

https://www.youtube.com/watch?v=pIyWnihGltA#t=432

The main part I am speaking about is the moment that the city is revealed for the first time. There aren't many noticeable sound effects in this one (Save for the sound of the ship flying by), so I'm wondering if you decided to include it?

Maybe snag it from the cutscene library? It's all in 7.1 surround so you might get clean separation.

I do know that the speaker cutscene has some echo as his voice bounces around the room in the rear surrounds to give a cool effect which might interfere with the music, but check them and see if any channel pairs have clean music. I think music is on LR, which may not have any voice at all but I don't remember. It's easy to check though.

Edit: Nah. Bungie continues to do it the "Bungie way" by putting voice on L and R channels in addition to the Center.

I haven't listened to every second of every song, but does this include the theme that plays during the "To the Tower" cutscene? Here is a link to the theme I am talking about. It is one of my absolute favorite themes of the beta:

https://www.youtube.com/watch?v=pIyWnihGltA#t=432

The main part I am speaking about is the moment that the city is revealed for the first time. There aren't many noticeable sound effects in this one (Save for the sound of the ship flying by), so I'm wondering if you decided to include it?

EPIC.

[*] Tracks 17 through 23, all named "Orbit," are taken from when the player's spaceship is in orbit waiting for the player to choose a destination. The sounds of the spaceship's engines are played continuously during this time. I did some light noise removal on these tracks to make the engine noise less noticeable, while attempting not to compromise the quality of the music.

Future music rippers will definitely benefit from utilizing surround sound capture. Engine noise is on the center channel, while the music is on L/R, and Ls/Rs and so can be separated.

Tracklist:

01 - Restoration
02 - The Dark Within
03 - The Warmind
04 - The Last Array
05 - Deactivating the Mesh
06 - Sepiks Prime
07 - Temple of Crota
08 - Main Menu 1
09 - Main Menu 2
10 - Main Menu 3
11 - Main Menu 4
12 - Main Menu 5
13 - Main Menu 6
14 - Main Menu 7
15 - Main Menu 8
16 - Destination
17 - Orbit 1
18 - Orbit 2
19 - Orbit 3
20 - Orbit 4
21 - Orbit 5
22 - Orbit 6
23 - Orbit 7
24 - Explore 1
25 - Explore 2
26 - Ocean of Storms
27 - Explore Drums 1 (Bonus)
28 - Explore Drums 2 (Bonus)

Notes:

• All files were ripped using videos from the Share functionality of the PS4.
  
• Every track should be free of any major sound effects, with the exception of the Orbit tracks (see below).
  
• Any track not named "Main Menu," "Destination," or "Orbit" is taken from gameplay and has been edited. I tried to keep every unique part of the cue while also editing for the most pleasurable listening experience.
  
• I don't claim this as the "full" soundtrack of the Beta, but I think I've gotten every major piece of music during gameplay.
  
• Music played during cutscenes is not included as it all included multiple noticeable sound effects.
  
• All titles are my own, not Bungie's or the composer's.
  
• Tracks 2, 8-16, 24, 25, 27, and 28 are the same files from my rip of the Alpha.
  
• Track 1, Restoration, is missing any small into or outro that it may have had.
  
• Track 2, The Dark Within, is the same file as The Hive from my Alpha rip, but retitled to fit with the rest of the story music. It is missing any small intro or outro it may have had.
  
• Track 3, The Warmind, is missing any small intro that it may have had, but includes the outro.
  
• Track 4, The Last Array, is missing any small intro that it may have had, but includes the outro.
  
• Track 5, Deactivating the Mesh, includes both the intro and outro.
  
• Track 6, Sepiks Prime, includes the intro but is missing the outro.
  
• Track 7, Temple of Crota, is missing any small intro or outro it may have had.
  
• Tracks 17 through 23, all named "Orbit," are taken from when the player's spaceship is in orbit waiting for the player to choose a destination. The sounds of the spaceship's engines are played continuously during this time. I did some light noise removal on these tracks to make the engine noise less noticeable, while attempting not to compromise the quality of the music.
  
• Tracks 25 and 26 (Explore 1 and Explore 2) are atmospheric battle music that plays at times when roaming Old Russia.
  
• Track 26, Ocean of Storms, is atmospheric battle music that I believe is unique to the Ocean of Storms on the Moon.
  
• Tracks 27 and 28 are small drum loops that are used during exploration of Old Russia.

Download
[local mirror -ce]