History Main / VariableMix

11th Aug '17 6:23:01 PM BeeKirbysNewComputer
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* ''Franchise/SuperMarioBros'':
** The ''VideoGame/YoshisIsland'' games have a variation on this trope: with each world completed, an additional line of instrumentation is added to the map screen music, until it becomes fully orchestrated on the last world's map.
** In ''VideoGame/YoshisStory'', the music changes depending on your health. When you're down to your last health point, the music slows to a crawl. When you're invincible, it changes to an electric guitar version of the level theme.
** ''VideoGame/PaperMario'':
*** The game reuses the tune for LavaLava Island, and each area of the map has a different mix of the tune. In fact, lots of areas in the game are like that, but the most dynamic has to be Toad Town, where the different parts of the tune actually fade in or out as you approach various areas.
*** Toad Town has its own theme song, and certain parts of it have their own themes, which are in the same key as and in sync with the Toad Town theme. When you are near one of these parts, you can hear the special music just a little bit, and when you are ''in'' said part, the special music is all there. The main theme can still be heard faintly, as if it were coming from outside.
11th Aug '17 6:20:13 PM BeeKirbysNewComputer
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* The music tracks for ''VideoGame/CrashTagTeamRacing'' are all divided into four sections: The introduction, a triumphant section, a tense section, and an ominous section. After playing the intro section once, the song transitions between the other three sections depending on your position in the race. The triumphant section will play if you're doing well, the tense section if you're falling behind, and the ominous section if you're running last.



* ''VideoGame/NeedForSpeed III: Hot Pursuit'' did this in spades, and did it ''very'' well. There were a limited number of courses in the game (the total being nine) and all courses except [[spoiler:Empire City]] shared music with another course. Still, each course had two music tracks: a rock and a techno track, meaning ten pieces of music (outside the menu themes). However, each of these tracks was composed of three-to-ten second segments that when placed together usually totaled well over 10 minutes of music (and in fact, many of these segments never made it into the official soundtrack). The music flowed absolutely seamlessly, which is a good thing, as the music would change depending on several factors: Your location in the current track, your position in the race, your speed as well as how many laps had passed in the race. This mix is especially noticeable in time trials where you're the only one racing. There was even a special bit that played when you crashed (and sometimes that varied depending on location) as well as one when being chased (even that varied, the music was more intense the closer a cop was to you). Given the fluidity and constant changing circumstances of a vehicular racing game, you can imagine the challenge this must have been for the composers.

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* ''VideoGame/NeedForSpeed III: Hot Pursuit'' did this in spades, and did it ''very'' well. There were a limited number of courses in the game (the total being nine) and all courses except [[spoiler:Empire City]] shared music with another course. Still, each Each course had two music tracks: a rock and a techno track, meaning ten pieces of music (outside the menu themes). However, each of these tracks was composed of three-to-ten second segments that when placed together usually totaled well over 10 minutes of music (and in fact, many of these segments never made it into the official soundtrack). track). The music flowed absolutely seamlessly, which is a good thing, as the music would change depending on several factors: Your location in the current track, your position in the race, your speed as well as speed, and how many laps had passed in the race. This mix is especially noticeable in time trials where you're the only one racing. There was even a special bit that played when you crashed (and sometimes that varied depending on location) as well as one when being chased (even that varied, the music was more intense the closer a cop was to you). Given the fluidity and constant changing circumstances of a vehicular racing game, you can imagine the challenge this must have been for the composers.
7th Aug '17 11:51:08 AM Codefreak5
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* ''VideoGame/PAYDAY2'' uses this. Each track has four separate sections: a quiet and more downbeat portion for stealth, a more tense portion once stealth is broken or between assault waves, a porion that rises in intensity as an assault wave approaches, and a louder and more intense portion for assault waves.

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* ''VideoGame/PAYDAY2'' uses this. Each track has four separate sections: a quiet and more downbeat portion for stealth, a more tense portion once stealth is broken or between assault waves, a porion portion that rises in intensity as an assault wave approaches, and a louder and more intense portion for assault waves.
7th Aug '17 11:50:39 AM Codefreak5
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* ''VideoGame/Payday2'' uses this. Each track has three separate sections, a quiet and more downbeat portion for stealth, a portion that slowly rises in intensity once stealth is broken or between assault waves, and a louder and more intense portion for assault waves.
** Shadow Raid is mixed to gain intensity based on the player's actions, as it must be completed in stealth (and thus has no assault waves).

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* ''VideoGame/Payday2'' ''VideoGame/PAYDAY2'' uses this. Each track has three four separate sections, sections: a quiet and more downbeat portion for stealth, a more tense portion that slowly rises in intensity once stealth is broken or between assault waves, a porion that rises in intensity as an assault wave approaches, and a louder and more intense portion for assault waves.
** Shadow Raid is mixed to gain intensity based on the player's actions, as it must be completed in stealth (and thus has no assault waves). Murky Station and Yacht Heist do the same thing, both being stealth-only heists as well. Yacht Heist is notable in that it has ''11'' different tracks, almost triple that of every other song in the game.
21st Jul '17 8:55:40 AM Marios2
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A hard cut to a different piece is one possible solution for a game, and it's not so jarring when disguised by a sound effect. But some titles make better use of their technology: in a variable mix, the background music changes subtly and smoothly depending on what is going on in the game. The running background music could have, for example, parallel parts that fade in and out with the rising and falling action level, seamlessly transitioning from a bare-bone ambient haunting theme to a hard-rocking drum-backed metal anthem during combat, and back again after the last enemy has fallen. A clever bit of composing that has a very subtle but real influence on player immersion. The UsefulNotes/MIDI musical interface, in which music pieces are not saved as pre-recorded audio but rather as musical notation that is interpreted on-the-fly by the sound hardware, is well suited for this sort of thing.

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A hard cut to a different piece is one possible solution for a game, and it's not so jarring when disguised by a sound effect. But some titles make better use of their technology: in a variable mix, the background music changes subtly and smoothly depending on what is going on in the game. The running background music could have, for example, parallel parts that fade in and out with the rising and falling action level, seamlessly transitioning from a bare-bone ambient haunting theme to a hard-rocking drum-backed metal anthem during combat, and back again after the last enemy has fallen. A clever bit of composing that has a very subtle but real influence on player immersion. The UsefulNotes/MIDI UsefulNotes/{{MIDI}} musical interface, in which music pieces are not saved as pre-recorded audio but rather as musical notation that is interpreted on-the-fly by the sound hardware, is well suited for this sort of thing.
9th Jul '17 10:31:22 PM Jgamer
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Added DiffLines:

* ''VideoGame/{{GranblueFantasy}}'' loves this trope. Nearly every track in the game can be divided into multiple parts that change into each other as you advance the dialogue/progress through the stage/deplete the boss's HP.
7th Jul '17 11:21:22 PM Kadorhal
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* ''VideoGame/Payday2'' uses this for police assaults. Each track is timed so a "quiet" version plays between waves, and when an assault triggers there is almost always a brief lull (for aBain to comment) before the heavy drop.
** Shadow Raid is mixed to gain intensity basedon the player's actions, as it must be completed in stealth (and thus has no assault waves)

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* ''VideoGame/Payday2'' uses this for police assaults. this. Each track has three separate sections, a quiet and more downbeat portion for stealth, a portion that slowly rises in intensity once stealth is timed so a "quiet" version plays broken or between assault waves, and when an a louder and more intense portion for assault triggers there is almost always a brief lull (for aBain to comment) before the heavy drop.
waves.
** Shadow Raid is mixed to gain intensity basedon based on the player's actions, as it must be completed in stealth (and thus has no assault waves)waves).
21st Jun '17 4:52:51 AM XenMon2
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* ''VideoGame/SystemShock'' had a very advanced system for its time (and even today). Each level’s music is built procedurally from different musical building blocks, controlled by parameters in the game. The core set of each level’s musical building blocks are named with a gameplay state (“W”alking, “P”eril, “C”ombat) and a section (“A”,”B”,”C”,…). “WA” can play into “WB”, unless the game state changes to Peril, at which it may play into “PB”. Additionally, each enemy type [[Leitmotif has its own theme]], which is then overlaid on top of the core level music based on the proximity of enemies of that type. This gives the game a hugely interactive and dynamic soundtrack.

to:

* ''VideoGame/SystemShock'' had a very advanced system for its time (and even today). Each level’s music is built procedurally from different musical building blocks, controlled by parameters in the game. The core set of each level’s musical building blocks are named with a gameplay state (“W”alking, “P”eril, “C”ombat) and a section (“A”,”B”,”C”,…). “WA” can play into “WB”, unless the game state changes to Peril, at which it may play into “PB”. Additionally, each enemy type [[Leitmotif has its own theme]], theme, which is then overlaid on top of the core level music based on the proximity of enemies of that type. This gives the game a hugely interactive and dynamic soundtrack.
21st Jun '17 4:51:23 AM XenMon2
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* In ''VideoGame/SystemShock'' had a very advanced system for its time (and even today). Each level’s music is built procedurally from different musical building blocks, controlled by parameters in the game. The core set of each level’s musical building blocks are named with a gameplay state (“W”alking, “P”eril, “C”ombat) and a section (“A”,”B”,”C”,…). “WA” can play into “WB”, unless the game state changes to peril, at which it may play into “PB”. Additionally, each enemy type [[Leitmotif has its own theme]], which is then overlaid on top of the core level music based on the proximity of enemies of that type. This gives the game a hugely interactive and dynamic soundtrack.

to:

* In ''VideoGame/SystemShock'' had a very advanced system for its time (and even today). Each level’s music is built procedurally from different musical building blocks, controlled by parameters in the game. The core set of each level’s musical building blocks are named with a gameplay state (“W”alking, “P”eril, “C”ombat) and a section (“A”,”B”,”C”,…). “WA” can play into “WB”, unless the game state changes to peril, Peril, at which it may play into “PB”. Additionally, each enemy type [[Leitmotif has its own theme]], which is then overlaid on top of the core level music based on the proximity of enemies of that type. This gives the game a hugely interactive and dynamic soundtrack.
21st Jun '17 4:50:50 AM XenMon2
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* ''VideoGame/SystemShock'' had music that would change subtly when enemies had spotted you. Having released in 1994, this is one of the earliest examples.

to:

* In ''VideoGame/SystemShock'' had a very advanced system for its time (and even today). Each level’s music that would change subtly when is built procedurally from different musical building blocks, controlled by parameters in the game. The core set of each level’s musical building blocks are named with a gameplay state (“W”alking, “P”eril, “C”ombat) and a section (“A”,”B”,”C”,…). “WA” can play into “WB”, unless the game state changes to peril, at which it may play into “PB”. Additionally, each enemy type [[Leitmotif has its own theme]], which is then overlaid on top of the core level music based on the proximity of enemies had spotted you. Having released in 1994, this is one of that type. This gives the earliest examples.game a hugely interactive and dynamic soundtrack.
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