Regardless, the meat of the track is contained within these guitars and at times, especially during the climaxes of the song, will take up mid and high sonic field. Some of them drone, some contain melodies, some are filtered and then those filters automate when the track begins to build more, and there’s of course a bass guitar layer, which is where most of the low energy is focused. The low frequencies and high mids are given mostly to the dozens of guitar layers inside the Call of Duty Theme. The kick drum, which is heard throughout the track is equalized to display the most low-mid frequencies and doubles up with a synth-bass stab, giving the track a heartbeat feel to it at times. The snare drum is sometimes a bit lost throughout the more denser portions of song, but it seems intentional as white noise hits fill the mix on the same parts of the measure as the snares and creates a more layered off-beat world, but only come in when necessary. While the rhythm itself is steady, it’s heavily effected and brilliantly produced. It’s a delicate eight measure structure that beautifully builds a tension filled landscape that ends with half-note brass instrumentation that leads into the second movement of the piece.Ī cymbal which pans between the two channels sets off a firestorm of an aggressive rhythmic section that’s relevant to the way most Nine Inch Nails songs are structured. ![]() It’s not his first approach to the video game world as Doom 3 and Quake also contains soundtracks created by the Nine Inch Nails frontman, but the CoD five minute epic shows considerable amounts of growth and willingness to fuse emotional arrangements with the grit and dirtiness which has shaped the music of his career.Ī reverberated piano melody begins the theme as pad and filtered guitars set an ambient drone in the background and a pulsating bass and manipulated kick work its way into the mix by use of automation. ![]() After producing two home run hitting scores for The Social Network and David Fincher’s adaptation of The Girl With The Dragon Tattoo, Trent Reznor was approached with the idea of creating the theme for Activision’s Call of Duty: Black Ops II.
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