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===Platform Online<sup><ref>{{Cite web|published=May 16, 2011|url=http://web.archive.org/web/0/http://platform-online.net/2011/05/interview-bob-barn/|title=Interview: Bob and Barn|site=Platform Online|author=Aaron Lee}}</ref></sup>=== | ===Platform Online<sup><ref>{{Cite web|published=May 16, 2011|url=http://web.archive.org/web/0/http://platform-online.net/2011/05/interview-bob-barn/|title=Interview: Bob and Barn|site=Platform Online|author=Aaron Lee}}</ref></sup>=== | ||
'''The two of you have been working together as composers for over 10 years. What’s your working relationship like?''' | '''The two of you have been working together as composers for over 10 years. What’s your working relationship like?''' | ||
'''Bob''': As much as we’d hate to admit it, it is like a professional marriage with all the bickering and in-fighting, who farts the loudest, who shouts the loudest. We’ve worked together for over 15 years now. Fortunately, we now have two separate studios so we can go off in a huff that much more successfully. We both read scenes differently as to where the musical focal point should be and we are quite different people and our backgrounds bring different ideas to the table, some harmonious with what’s there already, some not. We have different skill sets. Barn will, say, initially focus upon theme writing and instrumentation, whereas I’ll be thinking about the whole musical picture, arrangement and orchestration. Then we’ll swap, argue, refer to the other’s work as having questionable parentage and go from there. | '''Bob''': As much as we’d hate to admit it, it is like a professional marriage with all the bickering and in-fighting, who farts the loudest, who shouts the loudest. We’ve worked together for over 15 years now. Fortunately, we now have two separate studios so we can go off in a huff that much more successfully. We both read scenes differently as to where the musical focal point should be and we are quite different people and our backgrounds bring different ideas to the table, some harmonious with what’s there already, some not. We have different skill sets. Barn will, say, initially focus upon theme writing and instrumentation, whereas I’ll be thinking about the whole musical picture, arrangement and orchestration. Then we’ll swap, argue, refer to the other’s work as having questionable parentage and go from there. | ||
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'''Bob''': It’s important that if you choose to have a large scale orchestral production in your game that you go the whole nine yards and produce it that way. Producing synth demos is OK to a point, but a synthesised orchestra is merely a snapshot in time of what a full orchestra can produce. In addition, having two separate processes, composition and then production, allows you to focus on the respective jobs at the respective time so that nothing gets missed. | '''Bob''': It’s important that if you choose to have a large scale orchestral production in your game that you go the whole nine yards and produce it that way. Producing synth demos is OK to a point, but a synthesised orchestra is merely a snapshot in time of what a full orchestra can produce. In addition, having two separate processes, composition and then production, allows you to focus on the respective jobs at the respective time so that nothing gets missed. | ||
'''Of all the video games scores you’ve worked on so far, what’s been your favourite and why?''' | '''Of all the video games scores you’ve worked on so far, what’s been your favourite and why?''' | ||