#Final fantasy xiv soundtrack Patch

Heavensward brought a new lighting system to Final Fantasy XIV, the most obvious change being an enhanced level of contrast between light and dark. Its darkly serious tone is evocative of a town perpetually in some form of reconstruction thanks to the seemingly endless Dragonsong War. Upon arriving in Foundation, youвЂ™ll hear вЂњSolidвЂќ (track 3) first. According to SokenвЂ™s comments on this album (more on that later), he didnвЂ™t originally plan on creating four songs for Ishgard - a day and night theme for each level - but IвЂ™m glad he was convinced to do so. The central hub of the entire expansion, the city-state of Ishgard is split into two levels, clearly dividing the upper- and lower-class that reside in The Pillars and Foundation, respectively. Get it? вЂњNot funny,вЂќ you say? вЂњMove on,вЂќ I hear you pleading? ThatвЂ™s probably the right reaction. Ironic, given that so much of the game takes place in the sky. With a total runtime of nearly 5 hours, there is a lot of ground to cover with Heavensward. I really hope to see Takada compose more music, be it for Final Fantasy XIV or another title, as her work here has me wanting more. In this case, the drums remain light, keeping the hopeful tone of the Vanu tribe intact. Often, when you think of вЂњtribal drums,вЂќ you imagine something bass-heavy that works well in highly dramatic music. This song has a light, airy feel to it, accented by some solid tribal-like drum beats.

#Final fantasy xiv soundtrack Patch

This song debuted in Patch 3.1 and is the main theme of the bird-like Vanu Vanu tribe that you help in establishing a new home in the sky. Along with her credit of arranger on about a dozen tracks, she also composed two songs, including track 13, вЂњComing Home,вЂќ a theme that gets special mention as one of my favorites on the album. I canвЂ™t think of a better word to summarize the high-caliber integration of these songs.Д«efore we get to the bulk of this album, though, there is one other credited composer here: Yukiko Takada. We often discuss Heavensward on Rhythm Encounter, and our former RPGFan Music Overlord Stephen Meyerink commonly uses the word вЂњcohesiveвЂќ to describe this album. Regardless of whether or not Uematsu and Soken worked hand-in-hand across the album, the specific places that Soken chose to evoke either of these themes could only have happened if he was deeply involved with the rest of the Final Fantasy XIV team, in particular the story and lore teams. These two songs are the backbone of this album, and provide the base for - or are entwined with - several pieces of music across these 60 tracks. вЂњDragonsongвЂќ shines in part thanks to the gorgeous vocal work by Susan Calloway, returning to FFXIV after providing us with A Realm RebornвЂ™s key vocal song, вЂњAnswers.вЂќ (A song I have discussed at length in the past.) Soken was responsible for the intro song, вЂњHeavensward,вЂќ featuring a mixture of lyrics in English and Dravanian (the dragonsвЂ™ language) that are deeply symbolic of the expansionвЂ™s backstory: the thousand-year Dragonsong War that has been taking place between Ishgard and Dravania. вЂњDragonsongвЂќ tells the story of Heavensward and IshgardвЂ™s history, through lyrics that are only going to make sense once youвЂ™ve witnessed the expansionвЂ™s story. What I know is that Uematsu composed вЂњDragonsong,вЂќ HeavenswardвЂ™s key vocal track. I want to say that Uematsu and Soken are a formidable team, though IвЂ™m not sure how much they directly worked with one another. I donвЂ™t know the dynamics behind the scenes of this album. Thankfully, that answer is right here, in the Heavensward OST. One could ask then, what would happen if Soken and Uematsu were to both work on an album? What musical euphoria would result? There arenвЂ™t many composers that can take over for a legend, but Soken proves his talents again and again. If you read my intimidatingly long A Realm Reborn OST review, you know that I have nothing but immense praise for SokenвЂ™s work on that album and its followup from 2015, Before the Fall: Final Fantasy XIV. The result was that ARR was mostly SokenвЂ™s work, with some of Nobuo UematsuвЂ™s songs from 1.0 being so good that they remained in the reworked game. And not only because the original release featured a soundtrack by the man who created the music for Final Fantasy as a whole. While these are all noteworthy titles to have worked on, taking on FFXIV must have been daunting. Prior to 2013, he composed music for 2006вЂ™s Dawn of Mana, Front Mission 5 (which sadly never saw an English release), a pair of Mario sports games, and some others. The soundtrack to Final Fantasy XIVвЂ™s second coming, A Realm Reborn (aka 2.0), featured music largely by Masayoshi Soken.