![]() It's the process that I found works best for me.ĭamjan Mravunac Michael: Your music for Serious Sam 3: BFE is quite similar in style to your work on the original Serious Sam: The First Encounter. Once I have got that right, I derive the rest of the song by reducing parts and instrumentation, not by adding. I do that part first, since it contains all instruments used in the composition and musically speaking is the 'busiest' section. As I said, I guess I'm a lucky guy.īut to break down the process a bit, here is what I usually do – every song I make has some culmination, main theme, chorus, whatever. Really, that's what I do, and I know that it may sound weird, but for the past few years I've never had problems with finding inspiration while making music. Michael: What is the very first thing you do when you create your music? You can't just sit down and begin composing, right? Or can you?ĭamjan Mravunac: I sit down and begin composing. It usually takes a day to layout the basic track, and another day to polish it after receiving useful comments from the client. Getting in the head of the client is something every composer must learn, and it's not always easy, but it can be learned. Michael: How much time have you spent working on the Serious Sam soundtracks? What difficulties did you face during the work? Are there any tracks that did not make it into the game?ĭamjan Mravunac: Almost 90% of my work ends up in the game, leaving 10% material that is never used - which I think is a really low rejection rate. Not to forget, I am a huge guitar freak, and have several top-of-the-line guitars and amps (Gibson Les Paul, Paul Reed Smith Custom24, Paul Reed Smith CE22, Schecter 7-string beast, Hughes&Kettner Triamp MK2, Mesa/Boogie Triple Rectifier, etc. I rely on Adam and Avantone speakers, as well as on Audiotechnica headphones to give me an accurate picture of what's going on, but still, one of the best places for me to check my mixes is my trusty car! I also rely on Native Instruments, Quantum Leap East West and Spectrasonics software, and consider them to be the best in the field of virtual instruments. ![]() Several years ago, I got rid of almost all my outboard gear, and the only stuff left in my studio is for monitoring. Software is much easier to use, and while hardware always has that 'sparkle' and voicing that's hard to achieve with software, the differences are getting less and less prominent, and I think today's software can compete with hardware. Serious Sam 3 Michael: What hardware and software do you use in your studio?ĭamjan Mravunac: I used to be a hardware guy, but nowadays that has changed. I did however study rhythmic patterns of 'real' drummers, so I can program drums in my sequencing software quite realistically. Michael: What instruments do you play and/or do you have in your collection right now?ĭamjan Mravunac: I can play almost anything with keys or strings, but one thing I'm still missing is the knowledge to play drums. Writing music is quite easy for me – I always have (and always have had, since I first started writing music) an abundance of ideas for songs, so I just have to sit down and record the musical phrase that's currently playing in my head. At the end of elementary school, I heard one band that changed my life, and they had that amazing guitar player called Slash, who blew me away and who was the reason I decided to learn guitar. ![]() Michael: When and why did you decide to write music? What groups / composers have influenced you the most?ĭamjan Mravunac: Well, I did learn piano almost by myself (to be honest - I had one year of private training with a piano tutor, but I never liked the discipline needed to master playing classical music). I mostly compose music and SFX for casual games - there is a portfolio on my webpage that needs updating (I must admit), but you’ll get the picture. ![]() Michael: Are you playing in any bands currently? What games have you worked on, beside the Serious Sam series?ĭamjan Mravunac: I play bass guitar in a band called Prophaganda, but due to various obligations that all its members have, the band is currently on hiatus, so I have plenty of time to work on my own stuff. When Croteam was looking for a musician/sound designer, a friend recommended my work to Croteam's Game Director Alen (whom I've actually known for several years before we started working together), I sent him a few demo tapes I was working on, he played them to other guys at Croteam who liked what they heard, and the rest is history. I played in several local bands, and just started to fiddle around with recording music on computer. Damjan Mravunac Michael: Greetings, Damjan! Can you tell us how you entered the wonderful world of video game music?ĭamjan Mravunac: The stars probably alligned that way at the time.
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