Many of the vocals are performed by Mina Sakai, whom Hamauzu asked to perform some vocals for demo tracks and improvise some lyrics for them. The lyrics for " Serah's Theme" and " The Sunleth Waterscape" were revised for the English localization, even though the original recordings were already in English, due to the opinion of the English-language staff that the lyrics needed to sound more natural to native speakers.
He felt it was important for there to be variety to the sound design to maintain players' interests over a span of time, and that is why the themed motifs are reintroduced here and there as a kind of obbligato. Hamauzu explains that Final Fantasy XIII was intended to be a long game, which in itself provided some challenges. The two worlds of Final Fantasy XIII, Cocoon and Gran Pulse, display contrasting musical styles. The session was recorded in a concert hall and Hamauzu listened to it from the balcony, saying afterward it was sad there was no audience, since it was so beautiful. Parts of the soundtrack have been recorded with the Warsaw Philharmonic Orchestra, orchestrated by Yoshihisa Hirano. The soundtrack was composed in a period of about one year.
#Struggle session theme song full#
Hamauzu's first compositions for Final Fantasy XIII were scores for the footage shown in events or game shows in 20 (notably " Blinded By Light"), and he didn't begin composing the full soundtrack until autumn 2008. The main tools used in producing the soundtrack were Digital Performer, orchestral samples by East West, and some standard software synth by Native Instruments, although a lot of live instruments were used, along with vocals in the many background themes of different locations. The game's director, Motomu Toriyama, requested an orchestral and futuristic hybrid sound, but gave Hamauzu freedom to exercise his own style. The proposition was a surprise to Hamauzu, who was nevertheless eager to accept. Yoshinori Kitase asked Masashi Hamauzu to compose the soundtrack. 4.1 Hamauzu's comments on selected tracks.
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