Music 4 Games has kicked up
a new interview with BioShock audio director Emily Ridgway about the work that went into the game's ambience and sound design.
Q: When you had found the sound for BioShock did the rest of the team embrace this immediately or did you have to convince them that this was the right direction?
A: I think perhaps initially Irrational was wary of the idea of an original orchestral score. Irrational's games have been so highly praised from a sound point of view in the past, and orchestral scores weren't a big part of that. I think also too, that the notion of a real original orchestral score comes attached with the stigma of being a nightmare to organize and costing a fortune and "why spend that much when people can't tell the difference between midi and real instruments anyway?" Although one thing Ken was after was a real “Shining” vibe to the sound aesthetic, and the only way to pull that off to any degree is to get some dissonant orchestra up in the mix. Once the team and Ken heard that, I think they realized that an original orchestral score combined with licensed period music was the way to go. All in all orchestral experience for Irrational was very smooth and painless thanks to Garry.
BioShock Audio Interview 
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