agreed… i think that is my favorite of the three… 
i’ve played it several times now, and i can honestly picture Cthulhu wreaking havoc on my poor citizens…
and as @bitassassin said, this is going into my “personal collection”…
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@EpicDwarf in short: @CaseyEdwards destroyed my city and ate my brains. This should sum it up 
Thanks @bitassassin and @SteveAdamo! It’s never under-appreciated when people listen to my music. 
Btw, how cool would it be to have music as part of the live stream? Just thinking out loud, but if I were chosen to be the composer I think it would be cool to have a planned interruption during one of the live streams to talk music live with the devs. for the players and also play around on the piano and answer questions. I like that kind of interaction. Of course, this is all hypothetical.
im sure you’re aware that Tom has overlaid scores from @Raj (and others?) on the last few streams? yours is certainly fair game as well in my book… and who knows, perhaps there will be a focused desktop tuesday, or stream where music is the focus…
i suppose that isnt likely to happen soon however, at least not until they have a better idea for the sorts of tracks, themes and whatnot they are going for in SH… still, i’ll be tuning in when the music gets its chance to shine… 
Totally man! I’ve watched a lot of the streams, and actually, @Raj has been very quiet lately… :hint hint: 
He seemed to captivate the forums pretty quickly so I wouldn’t be surprised if they’re just keeping it quiet or working via NDA.
you know, i suppose thats possible…
im curious though… as a professional musician, what’s your take on the stretch goal we achieved? how do you see them approaching this? seeking talent locally (forums), hiring other musicians, etc.?
The Japanese RPGs from which Stonehearth draws its artistic
inspiration were as much defined by their soundtrack as their visual
style. Help us draw on the talent of a variety of professional
musicians to create an enticing score that will stand up to a decade’s
worth of play.
$50,000 is a pretty modest music budget. There are so many things to keep in mind when looking at that number. To the untrained eye that’s a lot of money! In real-life, if this is considered a buyout fee (like 99% of video games are) that’s not a whole lot. They should work out a standard contract protecting both parties and dump the money on the composer and not have to worry about any more legalities or financial situations with music. This is a VERY public deadline and a lot can go wrong with programing and implementation alone. They don’t need the weight of other departments crashing on them. Just a solid communication to make sure things are on track.
I also think this game should have ONE composer and that’s it. I want to hear a solid and complete dramatic arc of musical themes delivered by one voice and not a shared free-for-all. Is that how they will approach it? - I don’t know, but I hope so. Just like Zelda, this game has the potential to carry an operatic weight with it for ages if done right.
you’re clearly better equipped to make that call that i am, but it certainly seems like thats the idea behind that stretch goal (incorporating music from a host of musicians - all hopefully adhering to the same 16-bit theme i would hope)…
i agree with your last comment though, as SH has the chops from the gameplay side to stand the test of time… having a stellar musical score on top of the game can only increase that longevity…
Better equipped or not is irrelevant; it’s a total subjective opinion and I have to understand that when it comes to the announcement. With that said, in my private pitch to the devs I did mention this as well and explained why I felt this way. The way I look at it, there really is absolutely no reason this game needs a bunch of people throwing tracks at it and I hope this isn’t what it becomes. I would want this game to be approached Jeremy Soule or Koji Kondo style, where we have 2.5 - 3 hours of many different themes representing a more universal sound that encompasses the world we’re playing in.
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you paint an awfully compelling picture my friend…
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Yeah, but in the end, it’s what the devs want for their game that matters. This is just how I would want to run the music camp given the opportunity.
for any other fans of @Voobr’s, you can now grab his digital album for T&S right here… listening now… 
From the man himself, Jeremy Soule, commenting on the announcement of a new Zelda game in works for the Wii U. I had to post this when I saw it because it sums up exactly how I feel about scores coming out these days and how most pro’s are trying to steer developers in a more long-term and artistically enriched musical environment. This also helps explain in more detail why I said what I did about just throwing a bunch of tracks at a game and calling it an OST just isn’t going to stand the test of time or ever hold up to a tailored score with thematic depth. Big thanks to Jeremy for sharing these words with us!
Zelda developers, it is nice to hear that you like Skyrim. Given my
experience, let me reinforce the idea that an emotionally rich game
requires a carefully constructed musical architecture… This
represents more than just “cool” music. There is a science that can be
utilized. And, as I am a fan of the Zelda series, I would like to
enjoy your creative spin on aspects of Skyrim, so here are a few
suggestions…
Please, avoid chip tunes or chip-sounding tunes. I know this is a Nintendo “trademark” at this point, but it won’t hurt the franchise to
utilize more complex textures.Intonation - I did more work on intonation than perhaps any other aspect of Skyrim’s score. This work goes beyond the capabilities of
onboard synthesizers–again, this is why chip tunes should be
abandoned. Tuning really is as critical as the music composition
itself. My schematics were always highly complex… But as a simple
illustration, is Skyrim running at 440 Hz? You decide!Implement a unified atmospheric and thematic approach to composition. Context of inner-space emotion is also critical beyond
the obvious narratives. This is a different approach, but it works.Psychoacoustics. Recording techniques beyond instrumentation need to be considered at every stage of engineering.
Looking forward to the new game!
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I thought I would call it quits with what I’ve written so far, but a thought came to my mind. 
I wanted to present a main theme like piece with an adventuring feel to it. Thematic material is what I’ve been preaching, and even though there is a theme in the last piece I wrote, I thought it appropriate to present a more focused main theme to capture the fun of the game rather than a large monster stomping around. We’ll see what becomes of it.
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thanks for the heads up @CaseyEdwards… cant wait to see what you’ve cooked up now… 
Maybe it can be a theme for goblin raids? Oh yeah. Yeah it can.
@DrLank, perhaps in the future I might write one for Goblins. This one is more of a ‘Main Title’ piece, like what you would hear when you fire up the game. Something to immediately set the tone of the world we’re in. If you want some battle music though you can check out this piece I wrote not too long ago for Cthulhu. I tried to imagine a cute way of having a town stomped to the ground while you battle to save lives and buildings.
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-pretends to conduct the beat- ha ha! Its great, I like the little cheerful tune in the beginning. It’ll be a sound of horror as I watch everything I knew and loved destroyed in front of my eyes.
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ok, color me intrigued… again…
waits patiently while perusing soundcloud
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Just as a small update: The theme is written and now I’m trying to make it interesting as far as musical pacing goes. Knocking it out quicker now that the main content is in place. -writing writing writing- 
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