Indiana Jones and the Fate of Atlantis - Remastered Soundtrack

[Laserschwert]

Well, that works like a charm. Thanks a lot!

 

However, I forgot another feature that might would be a handy addition to the tool, since iMUSE files often contain multiple pieces of music in the same file, and that would be basically outputting one file per track (not to be confused with channels). For now, I've used the tool MIDIplex for that, but it's a bit cumbersome, as it only allows deleting tracks, not save them individually.

[Serge]

Even more quickly added (hour of dev), even less tested - I considered adding an option to split each MIDI file into new tracks based on channels (which we did for HighLand), but decided I don't have the time right now. 🙂

 

https://github.com/Jither/iMUSE-Sequencer/releases/tag/Misty-1.1.0

 

New "verb" is split - it also allows remapping at the same time. You can, of course, just use the output format that is built in, which will store the output files in the same folder with the same name and tracknumber appended. There's another example of a format in the examples. Beware that if you don't include "{track}" in the format, it'll generate the same name for every file, and they'll overwrite each other - a format like "{folder}/{name}.mid" will even overwrite the original file without warning. 😉 This is all very hacky development for now.

[LGH_]

On 2/1/2024 at 11:22 AM, Laserschwert said:

Anyway, I finalized "The Coldest Year of My Life", which is such a beautiful track! Hard to believe, something like this to show up in a 90s point-and-click adventure.

Thanks for the good work!

[Laserschwert]

On 2/2/2024 at 9:12 PM, Serge said:

Even more quickly added (hour of dev), even less tested - I considered adding an option to split each MIDI file into new tracks based on channels (which we did for HighLand), but decided I don't have the time right now. 🙂

 

https://github.com/Jither/iMUSE-Sequencer/releases/tag/Misty-1.1.0

 

New "verb" is split - it also allows remapping at the same time. You can, of course, just use the output format that is built in, which will store the output files in the same folder with the same name and tracknumber appended. There's another example of a format in the examples. Beware that if you don't include "{track}" in the format, it'll generate the same name for every file, and they'll overwrite each other - a format like "{folder}/{name}.mid" will even overwrite the original file without warning. 😉 This is all very hacky development for now.

Works great, thanks again! What seems to be missing in a lot of the files are tempo changes (or even an initial tempo), so I guess those were originally SYSEX commands interpreted by iMUSE?

Also, here's a little preview of what's coming next:

Edited February 9 by Laserschwert

[Laserschwert]

And it's done. "Sophia's Atlantis Presentation":
 

Edited February 10 by Laserschwert

[LGH_]

Thanks for the good work!

[Serge]

On 2/9/2024 at 10:28 AM, Laserschwert said:

Works great, thanks again! What seems to be missing in a lot of the files are tempo changes (or even an initial tempo), so I guess those were originally SYSEX commands interpreted by iMUSE?

 

Nope... iMUSE doesn't have any tempo specific hooks or markers. It's possible to change the tempo from SCUMM, but that was rarely done. All of the MIDIs (just checked) have initial tempo as standard MIDI meta events, as well as tempo changes when applicable (see fourth purple line):

iMUSESequencer scan for standard MIDI system messages in all files from FOA - all of them have at least one tempo (initial or change) - labelled "set-tempo" here (excerpt):

 

However, only the first track in an iMUSE MIDI will have an initial tempo - because none of the other tracks are independently played - they will all follow in some kind of sequence from the first track. Hence, Misty doesn't include any tempo in the split MIDI files, except for the file created from the first track - because it has no way of knowing what that initial tempo should be for the others: If the tempo changes halfway through track 1, and iMUSE then happens to jump to track 2, then the tempo of track 2 will be that changed tempo, not the initial tempo.

 

ETA: Haven't checked FOA specifically, because I'm not that familiar with FOAs MIDIs - which ones use iMUSE heavily and which don't. But here's an example from the DOTT opening titles - DOTT uses a different version of iMUSE ("v2"), so it actually also does include initial tempo on all tracks (which Misty would then also include in the split MIDIs). But other than that, this is an example of the tempo being changed, and then conditionally jumping to track ("chunk") 6 (actually, 7 - unlike Misty, iMUSE Sequencer (and iMUSE itself) counts tracks from 0). Tracks 2-5 are used for delaying the theme when a platform is too slow at loading the graphics for the next part of the title sequence.

 

Edited February 13 by Serge

[Laserschwert]

Meanwhile, I've added two more tracks from the soundtrack. The first one being the rather straightforward theme for the map screen:

 

 

The second, and most recent one, though, is the jazzy theme that plays on the New York street and when talking to Biff, the Doorman:

 

Furthermore, I'm looking for one specific track that's part of the soundtrack rip made back then by Quest Studio's Tom Lewandowski. Maybe I can't see the forest for the trees, but I simply can't find this piece in the raw rip of the MIDIs: https://www.youtube.com/watch?v=i8CzKunMqyU

 

I'm not even sure why it's called "The Hermocrates Manuscript", as I don't think the book itself has its own theme when looking at it in the game? Correct me if I'm wrong. Plus, the second half of that track is actually heard in the game when being backstage at the New York theater. Any pointers regarding the first part would be appreciated.

 

Edited October 9 by Laserschwert

[Jake]

11 minutes ago, Laserschwert said:

The first one being the rather straightforward theme for the map screen:

Iconic though.

[Vainamoinen]

On 10/8/2024 at 4:24 PM, Laserschwert said:

Furthermore, I'm looking for one specific track that's part of the soundtrack rip made back then by Quest Studio's Tom Lewandowski. Maybe I can't see the forest for the trees, but I simply can't find this piece in the raw rip of the MIDIs: https://www.youtube.com/watch?v=i8CzKunMqyU

 

I'm not even sure why it's called "The Hermocrates Manuscript", as I don't think the book itself has its own theme when looking at it in the game? Correct me if I'm wrong. Plus, the second half of that track is actually heard in the game when being backstage at the New York theater. Any pointers regarding the first part would be appreciated.

 

 

All three parts of the track (0:00 to 0:16, 0:17 to 0:45, 0:46 to end) can be heard in that sequence when Jones and Sophia first look at the Hermocrates manuscript in Jones' office, immediately before choosing a path. Starts at minute 43:00 in this youtube walkthrough.

 

 

[Laserschwert]

Thanks! I still can't find it in the game rip, though. I've tried Scumm Revisited, but for Indy's office it only shows some of the other tracks used there. I guess the theme is actually from another place in the game, and simply re-purposed here? (just like the second part of the track). Or, to make it even more difficult, it might be from another track in the game, but with only certain instrument channels playing.

Edited October 10 by Laserschwert

[Vainamoinen]

I only found the first part re-used, for example in Atlantis' "crab room".

[Laserschwert]

Part 2 sounds like a truncated and transposed version of the second half of Sophia's presentation.

 

Edit: Nah, doesn’t fit, as it contains instruments not included in the presentation track. The Quest Studios readme states that Tom recorded his version straight from the game, so that doesn't really help finding the source files either.

Edited October 12 by Laserschwert

[Laserschwert]

Hot on the heels of the New York track, here's one called "Rescuing Sophia". I'm not really sure where in the game it plays (quite likely Atlantis), as freeing her from the prison cell (followed by Indy and Sophia's passionate kiss) uses a different track.

 

Edited October 15 by Laserschwert

[Laserschwert]

Oh man, I finally found the part where the theme originated that's used when looking at the Hermocrates. Turns out, in the rip the cue is called Let There Be Light, which plays when Indy dives for Atlantis and manages to turn on the lights.

 

 

So, is this really the Hermocrates theme? Because the book actually re-uses two themes from other parts of the game. I guess this could simply be called the Atlantis theme, because a variation of it can also be heard during Sophia's presentation, plus the Hermocrates discusses Atlantis as well.

 

This cue puts a lot more weight behind the theme, making it much more important. Very fittingly, since Indy FINALLY sets foot in the lost city. 

Edited November 1 by Laserschwert

[Threepwood4life]

On 10/15/2024 at 2:57 PM, Laserschwert said:

Hot on the heels of the New York track, here's one called "Rescuing Sophia". I'm not really sure where in the game it plays (quite likely Atlantis), as freeing her from the prison cell (followed by Indy and Sophia's passionate kiss) uses a different track.

 

 

I recognise this track. It plays in the crete labyrinth when Indy whips the head off the staute to put weight on the lift that takes you down to where Sternharts body is

[Laserschwert]

2 hours ago, Threepwood4life said:

 

I recognise this track. It plays in the crete labyrinth when Indy whips the head off the staute to put weight on the lift that takes you down to where Sternharts body is

Not exactly. While that moment does play a short jingle version of the theme, it's not the long version heard here.

 

But that at least might confirm, that the theme is used in the elevator(s) puzzle chain.

 

And there it is: 

 

I really need to take some time playing the game (or watching a playthrough) to properly identify everything.

Edited November 1 by Laserschwert

[Laserschwert]

I finally made the switch to a new virtual instrument library for my brass instruments, especially the lead trumpets, going from the ancient Vienna Fanfare Trumpets to the MUCH better Infinite Brass library. The update in quality in massive - just check out my reworked Opening, with trumpets sounding MILES better than what I had before:

 

Edited November 4 by Laserschwert

[Laserschwert]

Three more tracks added:

 

Edited November 13 by Laserschwert

[Laserschwert]

I've polished a few of the tracks even further, and added another one:
 

Edited November 24 by Laserschwert

[Jake]

Love Michael Giacchino’s Star Trek score. 

[Laserschwert]

So do I, but I never made that connection. I mean, it's similar, but that's  about it. I guess it's just a basic pleasant chord progression.

[Jake]

There’s just a bit in the middle of that track that lands on the Trek melody line for a second, otherwise they’re unrelated. Sometimes a brain can’t help itself. 
 

This sounds great!

[Laserschwert]

A little peek at the theme I'm currently working on, which is actually used in several places in the soundtrack, in different arrangements (when Kerner steals the statue, during the car chase through Monte Carlo, and when Indy and Sophia escape from Atlantis). This is closest to the third variant.

 

 

When he steals the statue and escapes from Indy's office, we hear a "smaller" arrangement, which makes sense, as it is only a short brawl, not a big action setpiece. The car chase on the other hand uses slightly different instrumentation and a few bridge passages, to accomodate for a longer track .

Edited November 23 by Laserschwert

[Serge]

On 11/22/2024 at 4:29 PM, Laserschwert said:

A little peek at the theme I'm currently working on, which is actually used in several places in the soundtrack, in different arrangements (when Kerner steals the statue, during the car chase through Monte Carlo, and when Indy and Sophia escape from Atlantis). This is closest to the third variant.

 

 

When he steals the statue and escapes from Indy's office, we hear a "smaller" arrangement, which makes sense, as it is only a short brawl, not a big action setpiece. The car chase on the other hand uses slightly different instrumentation and a few bridge passages, to accomodate for a longer track .

 

Those Aaron Venture trumpets are really something - and excellently brought to life by you - that turn around halfways through is really really tight. (Do I really need yet another brass library in addition to those other 5-6? Of course n... ... I do. Yeah. I really do. Wonder if Aaron is planning Black Friday or not this year 😁).