We had the chance to chat with composer and sound designer Sergio Ronchetti about his heavy metal influenced video game score for Eldest Souls.

Check out what he had to say!

How did you get into scoring?

SR: I started my music career trying to become a rockstar! Haha. I left high-school with tunnel vision on becoming a heavy metal bassist and I did just that for about 4 years. By the end, I was pretty burnt out and looking for a new challenge. Studying music at university opened my eyes to the prospect of becoming a film composer. Turns out video games came first and I’ve been following this path ever since! In hindsight, video games have always been a massive part of my life so it was almost a matter of time before both of my passions met.

What drove you towards music growing up?

SR: It wasn’t really until my early teens that I found my music taste. My first album was Justified by Timberlake (classic) and then it was Nicelback, Silver Side Up. The latter introducing me to that wall-of-sound, distorted guitar and drums combination – I was mesmerised! From there I visited my uncle in Spain who is a massive metal-head and he had a huge influence on me. He introduced me to the likes of Metallica, Slayer and Megadeth and as soon as I discovered who Cliff Burton was I wanted to be a bassist and play live! 

What can you tell us about your score for Eldest Souls?

SR: Really there were 2 messages that needed conveying in the game. The gameplay itself is pretty unforgiving and fast-paced, with each boss encounter requiring it’s own personality and style, drawing on my metal experience to make them as heavy and intense as possible within orchestral writing. The other message was one of loneliness and hope that surrounds the main protagonist (the Crusader) which I felt some of my post-minimalist influences would be better suited for. Composers like Ryuichi Sakamoto and Max Richter.

Is scoring video games different comparared to film and TV?

SR: It’s super adaptive. Film and TV is very linear which means you know there’s a fixed start and end. In video games, it’s all about anticipating a player’s decision, whilst still creating that immersive experience we know so well in cinema.

Talk about what inspired you to incorporate heavy metal in the score

SR: Whilst the score isn’t heavy metal in any way, I still cite my time in a band and learning how to write songs as my method today. Even though I’m using an orchestral palette, I still think like a bassist on stage, playing alongside loud guitars and pounding drums!


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