Games with dynamic soundtracks
One of my favorite strengths of the medium is that games are often designed so that the world around you shifts to reflect your in-game actions. This list attempts to document some of the most notable examples of what is referred to as "adaptive/dynamic music," where the soundtrack often shifts volume, rhythm, or tone depending on what's happening at that very moment. Noodle discusses the different techniques in further detail here if you want to learn more, with some additional examples here. Suggestions welcome, I'm always looking for more great examples of this design philosophy in action!
75 Games
According to DizzySkullKid19: "the speed at which you walk in Chibi Robo changes the tempo of the music, and your walking sounds themselves are little staccato arpeggiated notes. There's also the different tools like the toothbrush, and when you use it to scrub the speed the music slows down, starts or stops depending on how fast you scrub and when you start and stop." See here for more detail.
Shifts to another segment of the song as the player progresses through boss phases, noticeably slowing down in tempo during close quarters combat. Example with The Line
Adds a slight muffling filter when ascending the tower of light to simulate being underwater. Also, players shouts are always within the scale of the backing track (adding your own notes to the music), and the final sequence times specific moments in the song with sections of the stage, withholding the track's progression until you hit the checkpoint.
Rez's lock-on system produces a sound effect that is automatically delayed to stay in sync with the background track at all times.
Shifts between different phases depending on player progress; anticipation, first phase/noticed by the colossi, and second phase/denouement once onto the colossi. The track can shift back into previous phases if the player ends up falling off the colossi or has to otherwise reset the situation.
Adds more instrumental layers to the ending area song for each character that you've interacted with during your journey. That's just the tip of the iceberg regarding Outer Wilds' adaptive sound design and soundtrack
Distorts/adds to the music depending on player's speed/momentum, and the player's progress within each puzzle. Similarly, adds extra musical effects while the player interacts with gel.
Adds additional layers to the "Dire Dire Docks" theme depending on how deeply underwater Mario is within Jolly Roger Bay.
Popularized many of the techniques described across this list for "cinematic adaptive music".
Operates somewhat similarly to Dying Light 2 in how the soundtrack is affected by your actions during parkour. See this video for more details
The famous "low HP beep" has now been implemented as a central element into its own critical health track. Also, the Village Bridge theme adds more instruments as you talk to the various band members around the area.
Adds another percussion layer to the backing track if you jump on/ride Yoshi.
The tanks minigame has a separate MIDI track for each enemy tank that is removed every time that specific tank is eliminated. That's just the surface of this iceberg.
Slightly muffles the background track and substitutes the instrumentation when underwater. Similarly, the game's soundtrack consists of separate layers/instruments that fade in and out as the player moves between different segments of any given level. This entry also serves as a stand-in for Rare games on the N64, such as Banjo Tooie, Conker's Bad Fur Day, and Donkey Kong 64
Escalates and deescalates backing tracks depending on the intensity of combat. Also, see the Doom Eternal description in this list for another similar example.
The game's difficulty adapts to how well you play in that every song has many possible alternate music bars/phrases that can show up over the course of different playthroughs. Rarely do you ever hear the same song played exactly the same.
The "Guard Trouble" theme has a second version that starts playing once you begin to fight more than 8 enemies at a time
The game's soundtrack "uses parallel forms with three layers which are activated by various parameters and then uses a transitional technique to crossfade into the end stinger or a different piece entirely," and also swells and crescendos as you swing around the city. Also applies to Miles Morales
Adds an additional track to the current BGM whenever dashing
Changes to an 8-bit version of the track when playing the hacking minigame. Also, the overworld music transitions based off of a variety of factors such as story progress and location.
Adds more instruments to the mix the longer the player stays in a single stage, mirroring enemy intensification.
Similar to Phantasy Star III, shifts the tone of the encounter theme depending on which side has the advantage.
Transitions to ambient versions of each backing track if you stand still long enough, and increases the tempo of the backing track while charging.
Utilizes an procedural music system that functions off of "different musical building blocks, controlled by parameters inside the game."
Known for the iMuse system to continually synchronize backing tracks with the on-screen actions seamlessly. Also a stand-in for all LucasArts games with iMuse
Utilizes several versions of Debussy's Preludes to reflect whether the player is "plotting" or in "full chaos mode"
Uses four vertical layers (exploration, tension, combat, and "variety") for various game states and special musical transition segments when the player moves from one age to the next. See this blog post by the Music Lead of AoE IV for more information.
The backing track differs during chase sequences depending on whether or not the player is in high/low profile
Another example of early generative video game music, uses a technique dubbed "Riffology" that arranges a library of musical fragments depending on what environment the player is in, with the specific arrangement differing depending on what is happening at that particular time from the player's actions
Collect "plus" symbol power-ups to add more layers to the level's theme as you run along. Applies to most games in the series
There are four different layers to each track, adding a new layer to symbolize a new layer of fear. These tracks are then mixed differently depending on a variety of variables (e.g. player's distance from Necromorphs).
Intensifies the music as the number of enemies fought at once increases. Also applies to Dragon's Dogma II
Adds musical flairs to the backing track upon in-game actions such as glissandos when getting ambushed by the werewolf
Music changes depending on what is going in the fight; for example, blocking kicks muffles the background track with a lowpass filter, combo breakers and combos activate different tracks, and the music as a whole directly syncs with combos. A short breakdown can be found here
Stand-in for the main series. All interactive tracks are arranged in a vertical layering system. See this blog post for a description of how specific menus in the Pod menu system are attributed to a specific layer to mix and match layers of the soundtrack.
Considered to be the "first" generative music game, the background music is modified according to an algorithm as you spread and smear "moonjuice." See it in action
The music changes depending on a variety of factors, such as speed, position, lap of race, section of the track, etc.
Uses a dynamic sound generation tool named "pulse" to create "Soundscapes," referred to as "different reflections" and "different interpretations" of the original OST.
Adds guitar/drum solos to the backing track as part of your attack and indicates which side is winning depending on the genre playing the tune (rock vs EDM)
One of the first generative music games; music notes play whenever you fire, and collected letters can change the musical instrument played.
Removes the lead instruments whenever moving the board around in battle. Example
Stand-in for the whole series; Pikmin soundtracks as a whole operate in a similar fashion. Consists of dynamic themes that shift tones and instruments used based off of the current actions of your Pikmin, the time of day, and your current health/status.
Uses a generative music system; various player actions as well as the environment result in "every object making music"
Adds another layer of percussion whenever the player gets a chain of 5 or more successful actions. Compare the original track to its 5 chain track
The player essentially creates their own version of the song within the level's parameters, with the player's action adding notes. Explained in more detail here
Somewhat similar to the DOOM entries in that enemy encounters switch the melodic background track to a more intense and higher tempo track, using a slomo effect to signify when encounters end before switching back.
Nilichi
2 months ago
@Drax
The fact that NightDive didn't attempt to include a dynamic soundtrack in their remake because "No one noticed it", which is their actual words from some QA, really pisses me off. Because I IMMEDIATELY noticed the audio was doing kooky shit in the first two levels.