010 IVGM – A Shell In The Pit, Narwhal (Tower): Rogue Legacy

InsideVGM-150In this episode, I talk with Vancouver composer/sound designer Gordon McGladdery, also known as A Shell In The Pit, about his song Narwhal (Tower) from the Rogue Legacy soundtrack.

In my interview with Gordon McGladdery, we cover the following:

  • His musical background, including learning sound design at the Vancouver Film School. He spends about half his time on sound design and half on music
  • Gordon writes music for Destin Sandlin on the YouTube channel SmarterEveryDay
  • He likes LA Scoring Strings (LASS) for strings, the Cine- libraries like CineHarp and Kontakt for percussion
  • A Shell In The PitRogue Legacy is a genealogical Rogue-lite where you play as a series of knights. Narwhal plays and loops when you are in the tower. Gordon talked about techniques for making looping songs now sound repetitive
  • We go through the form. In the “A” section, Gordon layers a lot of guitar tracks, including left- and right-channel parts making the guitars sound wide.
  • The “B” section uses an old-school chip synthesizer sound. His method of making chip sounds has changed since working on this soundtrack
  • I then play Narwhal (Tower)
  • Gordon talked about the history of getting the music and then the sound design job for Rogue Legacy and bringing on Judson Cowan (who goes by Tettix) to write half the music.
  • He talked a little about sound design and how good sound effects have their own beats
  • Gordon talked about how the implementation of game audio is a lot easier when he can use the middleware tools for dynamic mixing and effects processing.
  • He is the co-host of the podcast Beards, Cats And Indie Game Audio with Matthew Marteinsson
  • Some of Gordon’s favorite games are Dear Esther, Amnesia: A Machine for Pigs, Brothers: A Tale of Two Sons, The Long Dark, and going back Super Mario Bros, the Hitman franchise and the Mass Effect franchise

You can find Gordon McGladdery at ashellinthepit.com or on Twitter @AShellinthePit.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

If you are or know a game developer that needs music or sounds for the game, I would love to help. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my album Major 7ths and Minor 9ths on Bandcamp. You can stream it for free or download it for “pay what you want.” You can try my game Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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009 IVGM – Tom Snively, Peru Theme: Digology

InsideVGM-150In this episode, I talk about one of my game soundtrack songs, the Peru Theme from the upcoming archaeology game Digology from Robo Ra Games.

Next week I am interviewing Gordon McGladdery / A Shell In The Pit about the music from Rogue Legacy. If you have any questions for him, email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

In this episode, I cover the following:

  • In May I wrote three songs and did sound effects for an archaeology game called Digology being developed by Robo Ra Games.Digology
  • In Digology, you are traveling around the world, excavating bones and artifacts for your museum. I wrote a museum theme for orchestra, a Montana theme using Native American instruments, and this Peruvian theme using Peruvian instruments.
  • I did all three songs in Bb major and/or G minor so it would flow smoothly as you change locations in the game. I also used a 4-note motif (G Bb C high G) in all three songs. I demonstrated the motif in the Montana and Museum Themes.
  • I described the chord progression of the song
  • I went through the sounds I used, primarily from Garritan World Instruments, playing a portion of the tracks. They were South American harp, Andean Panpipes, Peruvian Panpipes, Quena and Bombo. I also used the Big Equator Pad synth from Omnisphere.
  • I then played the Peru Theme

The “Digology – Early Development Gameplay Teaser” video:

To vote “yes” for Digology on Steam Greenlight, go to insidevgm.com/digology. You can find Robo Ra Games at RoboRaGames.com, on Facebook at facebook.com/RoboRaGames or Twitter @RoboRaGames.

If you are or know a game developer that needs music or sounds for the game, I would love to help. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my album Major 7ths and Minor 9ths on Bandcamp. You can stream it for free or download it for “pay what you want.” You can try my game Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

008 IVGM – Eirik Suhrke, Deathmatch: Spelunky

InsideVGM-150In this episode, I talk with Eirik Suhrke, the composer who wrote the soundtracks for Spelunky, Ridiculous Fishing, Hotline Miami and others. We talk about his song “Deathmatch” from the Spelunky soundtrack.

In my interview with Eirik Suhrke, we cover the following:

  • How he has no formal musical training, and got started playing in rock bands.
  • Eirik used MODPlug Tracker to make most of the Spelunky soundtrack, and then he added acoustic instruments like drums and saxophone in Pro Tools. He recorded the samples from his own synths and from Amiga modules and Super NinEirik Suhrketendo games
  • Eirik described Spelunky. The game was originally published in 2009 with music made by George Buzinkai and Jonathan Perry. Eirik was asked to make music for the remake which came out in 2013. He talked about he was asked to make music as if it was a new game, but how he made an homage to the original music in the Deathmatch track.
  • Deathmatch plays in multiplayer mode where players are trying to kill each other. The matches could be really short or a bit longer. Eirik wrote a longer track (2 minutes 21 seconds) that loops in Deathmatch mode, but doesn’t repeat each time a new match starts.
  • Additionally, the percussion is on a separate audio file so they fade it out between the matches and play it during the matches
  • Deathmatch has a number of different sections. It has an odd meter at the start. Eirik said the tracker is like a spreadsheet with rows and columns, so that there is nothing guiding you into common meters like 4/4.
  • Eirik frequently uses pedal bass like the start of Deathmatch. The song starts with Bb majorish chords over Bb, and at 0:25 changes to B maj7 and B maj9. After a long pedal note, there is a big impact from the bass note change.
  • I then play “Deathmatch” from the Spelunky soundtrack.
  • Eirik recorded his friends playing on the soundtrack, including the drummer from his band Pajjama
  • He said the most influential game he played was Final Fantasy VII (music by Nobuo Uematsu) which made him want to be a game composer.
  • Some of his favorite games of all time are Final Fantasy VII, The Legend of Zelda: A Link to the Past and Deus Ex, as well as the whole Zelda and Super Mario series. He also likes the Little Nemo: The Dream Master music and game.
  • Eirik is working on a lot of things now: a couple of games, an album with his band Pajjama, an album of his own, and he is working on his own game

You can find Eirik Suhrke on Twitter @strotchy and his website is strotch.net. The Spelunky soundtrack is on Bandcamp.

You can find Spelunky on PC, XBLA and PSN or get more information at spelunkyworld.com.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my music at TomSnively.com on the Music page or the Credits page. You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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007 IVGM – Charlie McCarron, Moto Hekalu: Star Reaction

InsideVGM-150In this episode, I talk with Charlie McCarron, the composer who wrote the soundtrack for Star Reaction by unTied Games. We talk about his song “Moto Hekalu.”

In my interview with Charlie McCarron, we cover the following:

  • His musical background, how he got interested in video game music and joined friends to start unTied Games, a small indie game studio
  • For the RPM Challenge, Charlie created 35 1-minute tracks using a Casio SA-35 keyboard. That album is on Bandcamp.
  • Charlie uses Puremagnetik and other synths that come with Ableton. Instead of modifying the patch,Charlie McCarron Charlie likes to modify the sounds using distortion, delay, frequency shifts, EQ and the like.
  • The game, Star Reaction, available now for Windows, Mac, Linux and Android
  • Moto Hekalu plays during the orange “fire temple” levels. Each color has its own song from the soundtrack. “Moto Hekalu” means roughly “fire temple” in Swahili.
  • Charlie shared his thoughts about making looping songs, including one that he got from Whitaker Trebella (Whitaker Blackall)
  • We talked about and played some of the individual parts in the song. The “Texture” sound actually was a sample from another track on the soundtrack.
  • The “mallets” sound used an Arpeggiator. Charlie also talked about using an arpeggiator on episode 22 of Making My Own Music, this podcast’s previous incarnation.
  • There is a layer of wind and a layer of crows. Charlie talked about a Crowpocalypse he witnessed a couple of years ago.
  • The bass part plays kind of a diminished scale and never resolves. Later in the song it plays a half-step higher.
  • There are three percussion sounds. The bass drum comes from the Sonatina Symphonic Orchestra which is free. There is also a tom part and a percussion part.
  • There is a part called “Soft Jupiter” and a higher synth that doubles the bass part, especially for people playing on mobile phones .
  • I then played “Moto Hekalu.”
  • Charlie split the parts into two layers, the “peace” layer and the “panic” layer. During the endless mode, the song morphs from “peace” to overlapping to “panic” as the panic meter rises and your time is running out.
  • The full soundtrack is available now at untiedgames.bandcamp.com.
  • Charlie hosts a podcast called “Composer Quest” where he interviews composers of various styles. Charlie interviewed me in episode 77
  • Charlie especially likes the late Romantic music from around 1890 to 1920.
  • Some of his favorite games are N64 games like The Legend of Zelda: Ocarina of Time, GoldenEye, Super Smash Bros N64, Mario Kart. He also has been playing Fez and Portal recently.

You can find Charlie McCarron on Twitter @charliemccarron and his website is CharlieMcCarron.com. The Star Reaction soundtrack is on Bandcamp.

You can find the Composer Quest podcast at composerquest.com. You can find Star Reaction on Windows, Mac, Linux and Android from unTied Games.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my music at TomSnively.com on the Music page or the Credits page. You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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006 IVGM – Kat Angeloni, Lucky Penny: Coin Crypt

InsideVGM-150In this episode, I talk with Kat Angeloni, the composer who wrote the soundtrack for Coin Crypt. We talk about her song “Lucky Penny.”

In my interview with Kat Angeloni, we cover the following:

  • Her musical background and getting into game composing. She took a game music class at Drexel taught by Andrew Aversa (a.k.a. zircon)
  • Lucky Penny uses instruments that came with Logic, but now Kat prefers to use Ableton. She subscribes to Puremagnetik to get new patches each month
  • Coin Crypt is a rogue-like card game that uses coins instead of cards
  • Lucky Penny is the title theme. Kat talked about how she varies looping songsKat Angeloni
  • I then played “Lucky Penny”
  • Kat talked about the soundtrack as a whole. There are two paths in the game, through the dungeons and in the outer world
  • The soundtrack is available on Bandcamp at dloot.bandcamp.com
  • Kat also wrote a song for Mirror Isles for Alan Hazelden
  • She has been listening to a lot of Anamanaguchi and Son Lux lately
  • Some of her favorite games of all time are Shadow of the Colossus, Wario Land 3 (Gameboy Color) and Katamari Damacy
  • Kat likes the music in Kirby (Nintendo), Kingdom Hearts and Katamari Damacy

You can find Kat Angeloni on Twitter @dlootie and her SoundCloud page is soundcloud.com/dloot. You can find Coin Crypt on Steam.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my music at TomSnively.com on the Music page or the Credits page. You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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005 IVGM – Chris Kukla, Where Are My Keys?: Claustrophobia: The Downward Struggle

InsideVGM-150In this episode, I talk with Chris Kukla, a game composer who wrote the soundtrack for Claustrophobia: The Downward Struggle. We talk about his song “Where Are My Keys?”

Chris also wrote the soundtracks for The Memory of Eldurim and Citybound.

In my interview with Chris Kukla, we cover the following:

  • His musical background, playing piano as a kid, then learning guitar and going to college for music, and how he got his first game music gig
  • For the most part, he learned synthesis by trial and error and Google searchesChris Kukla
  • Lately he’s been using a lot of kalimba, marimba, xylophone, harp, glockenspiel, celesta
  • Chris likes Kontact’s Cinematic Strings, Berlin Woodwinds, Sample Modeling‘s horns, Orchestral Brass Classic, and VOXOS: Epic Choirs. He also mentioned Emmitt Cooke’s blog entry 19 Smaller Kontakt Developers You’ve Probably Never Heard Of (and need to check out!)
  • Claustrophobia: The Downward Struggle is a roguelike turn-based RPG with permanent death, similar to Dungeons of Dredmor
  • Daniel Millward, the developer has a great sense of humor and has put funny material into the game
  • Where Are My Keys has a non-standard meter, a repeating pattern of three measures of 5/8 and one measure of 7/8. In Ableton, he uses one measure of 11/4.
  • We talk about the form and instrumentation of the song. The repeating 8th note pattern is a marimba sound. and then the bass part is a string bass. The instruments are pretty much stock sounds that come with Reason.
  • The main melody is a guitar sample that is processed in a guitar rig with EQ, distortion and a lot of ValhallaRoom reverb. After a few measures, a glockenspiel doubles the melody with the same processing.
  • There are two additional marimba parts that play harmony with the first part. The main melody is reprised near the end.
  • The song is five minutes altogether and does not loop during gameplay. This game may last six or seven hours, so the soundtrack has a number of longer pieces to keep the music from being repetitive.
  • I then played “Where Are My Keys?”
  • Chris also wrote the soundtracks for a couple of short films, iDig and Raw and Primal Yearnings where he got to write in a variety of styles
  • Chris likes the podcast All Songs Considered
  • Some of Chris’s favorite games of all time are Super Mario 64, The Legend of Zelda: Ocarina of Time and the Civilization series. He also really likes the music in The Binding of Isaac (Danny Baranoswky) and Gunpoint (Ryan Ike, Francisco Cerda, and John Robert Matz)

You can find Chris Kukla on Twitter @ChrisKukla and his website is ChrisKukla.com. You can find Claustrophobia: The Downward Struggle on Steam.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my music at TomSnively.com on the Music page or the Credits page. You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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004 IVGM – Grant Kirkhope, Balor – Kingdoms of Amalur: Reckoning

InsideVGM-150In this episode, I talk with Grant Kirkhope, a long-time game composer who wrote the soundtrack for Kingdoms of Amalur: Reckoning. We talk about his boss battle song “Balor.”

Grant is a member of the Classic FM Hall Of Fame, and his video game soundtracks have sold more than 25 million copies.

In my interview with Grant Kirkhope, we cover the following:

  • His musical background, attending The Royal Northern College of Music, playing in metal bands, and working at Rare, Big Huge Games and 38 StudiosGrant Kirkhope
  • Grant has been fortunate to have a live orchestras record the soundtracks for Viva Piñata, Banjo-Kazooie: Nuts & Bolts, Viva Piñata 2, Kingdoms of Amalur: Reckoning, CityVille 2 and Civilization: Beyond Earth
  • Grant writes the music and creates a MIDI mockup, before handing it over to someone for orchestration
  • During the recording, Grant stays in the control room, making sure the performance is right while recording engineers, conductors, mixers, and mastering engineers handle the tasks they specialize in
  • When making MIDI mock-ups or for pieces not being performed by a live orchestra, Grant uses Hollywood Brass, Strings, and Orchestral Woodwinds libraries from EastWest Studios
  • From playing trumpet in orchestras, Grant has great knowledge of what the different instruments can do and what they are great at
  • He listened a lot to the first three Harry Potter soundtracks composed by John Williams
  • I then played “Balor” from Kingdoms of Amalur Boss Pieces with Endings
  • He talked about the looping version for the game and the versions with endings for the soundtrack
  • Grant likes to use motifs that pop up in different pieces throughout the game and soundtrack
  • He liked working with Curt Schilling, although he did not know about baseball
  • Grant talked about working with his friend Danny Baranowsky on the Desktop Dungeon soundtrack
  • He likes working with indie developers and how they focus on great gameplay
  • One of Grant’s favorite all-time games is The Legend of Zelda: A Link to the Past
  • He likes games that use Danny Baranowsky’s and Jimmy Hinson‘s (Big Giant Circles) music

You can find Grant Kirkhope on Twitter @grantkirkhope and his website is grantkirkhope.com. You can find Kingdoms of Amalur: Reckoning on Steam, Playstation and Xbox

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my music at TomSnively.com on the Music page or the Credits page. You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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003 IVGM – Tim Shiel, Nay – Duet

InsideVGM-150In this episode, I talk with Tim Shiel, a composer from Melbourne Australia who wrote the Duet soundtrack. We talk about his song Nay.

In my interview with Tim Shiel, we cover the following:

  • His musical background playing grunge music in high school, and then releasing music under the name Faux Pas
  • How he toured with Gotye in 2011 and 2012 for the Making Mirrors tour
  • The five-minute video of Gotye and Tim made by Abelton about how they used the software during live shows
  • His radio show Something More on Double JTim Shiel
  • How he went from wanting to get into game music to getting the Duet soundtrack gig
  • Inspired by Indie Game: The Movie and Jim Guthrie’s story which led to meeting the folks from Kumobius
  • The Duet game, and how it appeals to hard-core gamers and to casual gamers
  • Tim made a lot of Duet sounds on the OP-1 from Teenage Engineering
  • He uses a Nord Stage 2 as his MIDI controller as well as use the Nord sound library
  • The music for Duet is laid-back “atmospheric” dance music. Tim talks about getting it to fit into the game, to sound decent on an iPhone speaker but great on headphones, and to stand alone as a soundtrack album
  • Tim talks about making the loops long (three to five minutes) with different sections
  • I briefly talk about the form of Nay. After having the “A” note in the bass for the whole song, near the end there is two measures of F and two measures of G before returning to A. Tim talks about the tension-release
  • I then played “Nay”
  • Tim talks about the “rewind” sounds that play when your red or blue game balls hit a block
  • He used a reverse reverb trick on the voiceover with a lot of side-chain compression
  • Some of Tim’s favorite games include the Mass Effect series, Pool of Radiance (Commodore 64). He really likes the music on Rymdkapsel (music by Niklas Ström)
  • Tim’s latest EP is called Time Shield available at timshiel.bandcamp.com
  • He is now working on the soundtrack for GameLoading: Rise Of The Indies, a feature-length documentary film and with a project called Telling with Ben Abraham

You can find Tim Shiel on Twitter @timshiel and his website is timshiel.com. You can find Duet at duetgame.com.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my music at TomSnively.com on the Music page or the Credits page. You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

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002 IVGM – Disasterpeace, Adventure – FEZ

InsideVGM-150In this episode, I talk with Rich Vreeland, who also goes by the name Disasterpeace. He is the composer of the FEZ and many other game soundtracks. We talk about his song Adventure from FEZ.

In my interview with Rich Vreeland, we cover the following:

  • His musical background growing up and at Berklee College of Music
  • His 42 projects available for sale on his music page
  • Retaining or giving up rights to be able to release the soundtrack himself
  • His album Neutralite and how he collaborated with SpamTronDisasterpeace
  • If it is hard to wait after writing a bunch of music for a game to be completed and released
  • Rich has a blog entry where he talks about the synthesizers he uses. I ask about how to move up from beginner at synthesis
  • We talk about Adventure, and how there are only seven or eight tracks in the song
  • I then played Adventure from the FEZ soundtrack
  • Rich gave tips on making things loopable, and how the soundtrack version differs from the game version
  • How he use Leq and AudioLink to match the volume level for the game assets, separately from having the soundtrack mastered for the game Monsters Ate My Birthday Cake
  • His “game”/music app January
  • Rich is performing October 11th at IndieCade, singing and playing piano on new songs
  • Rich also wrote the score to the film It Follows in about three weeks to have it ready for the Cannes Film Festival
  • His alias, Disasterpiece, how we came up with it and the occasional problems of having two identities
  • His favorite games of all time are NHL ’94 (Sega Genesis), Tecmo Super Bowl (NES), Super Mario RPG, Super Mario World 2: Yoshi’s Island and Chrono Cross.
  • He loves the music in Yoshi’s Island (Koji Kondo) and Chrono Cross (Yasunori Mitsuda), and more recently Machinarium and Samorost 2 (Tomáš Dvořák). Spelunky (Eirik Suhrke)

You can find Rich Vreeland on Twitter @Disasterpeace and his website is disasterpeace.com. You can find FEZ at fezgame.com.

Next week I am interviewing Grant Kirkhope who wrote the soundtrack for Kingdoms of Amalur, GoldenEye, Banjo-Kazooie, Viva Pinata, Perfect Dark and many more. If you have any questions you’d like me to ask, please email me at tom@insidevgm.com.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

If you enjoy Inside Video Game Music, please leave a rating or review in iTunes.

You can hear my album Major 7ths and Minor 9ths on Bandcamp. You can stream it for free or download it for “pay what you want.” You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

I Appreciate Your iTunes Reviews!

It is very valuable for the iTunes podcast rating to receive 5-star ratings and/or written reviews. If you like the podcast, please go to iTunes and give a 5-star rating and/or review.

I am so incredibly thankful to those who have recently gone into my listing in iTunes to provide a 5-star rating and a written review of Inside Video Game Music.

Subscribe To The Inside Video Game Music:

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001 IVGM – Ben Prunty, MilkyWay (Battle) – FTL

InsideVGM-150In this episode, I talk with Ben Prunty, the composer of the FTL soundtrack. We talk about his Battle version of his MilkyWay song. I also talk about the podcast name change from Making My Own Music and the change of focus.

Originally this podcast was called “Making My Own Music” where each episode went into a song, mostly ones I composed. I talked about Rue’s Whistle and episode 1 of MMOM where I talked about my musical background. I also mentioned episode 28 of MMOM where I talked about Molecular Music Box and a couple of solo piano songs I wrote using it.

Ben PruntyI talked about episode 27 of MMOM where I talked about RPSwipe, a mobile game that I wrote the music and sounds for, I also wrote my own game, Match Em which used a song called Rise Above that I talked about in episode 20.

I also had some interviews, I interviewed Charlie McCarron in episode 22 and Joe Gilder in episode 23. In episode 24, I interviewed Whitaker Trebella about the music from his game Pivvot.

In my interview with Ben Prunty, we cover the following:

  • His background going to audio engineering school, recording and mixing rock bands
  • “It takes ten years to make an overnight success” from his blog entry
  • He started on Gravity Ghost in 2010, and it is not going to released until January 26th, 2015. Is it hard to have to wait so long for people to hear some of your music?
  • The FTL soundtrack has sold over 100,000 copies. We talk about owning the soundtrack rights for indie games
  • He mentions the hardware and software used to make FTL in a blog entry. He mentions Native Instrument Komplete 10 (affiliate link) that has over 12,000 sounds. How do you find the next patch to use when writing a song?
  • He has a blog entry on an analysis of themes in the FTL soundtrack. What is the right amount of self-referencing material on a soundtrack? He’s varied on Gravity Ghost, FTL and StarCrawlers coming out in November
  • We talk a little about the effects processing in FTL
  • I ask about programming drums. Does he think about whether it is playable by a human drummer
  • I then play the Battle version of MilkyWay
  • We talk about music theory study
  • We talk about how he enters notes and quantizing/humanizing
  • We talk about a separate mixing process he does when the recording of a soundtrack is complete
  • His favorite games are EarthBound, System Shock 2, God Hand, Secret of Mana and Chrono Trigger. EarthBound and the first God of War are his favorite game soundtracks.

You can find Ben Prunty on Twitter @BenPrunty and his website is benprunty.com. You can find FTL at ftlgame.com.

Next week I am interviewing Rich Vreeland who goes by the name Disasterpeace who wrote the soundtrack for FEZ and Tim Shiel who wrote the soundtrack for Duet. If you have any questions you’d like me to ask them, please email me at tom@insidevgm.com.

Is there a game composer you’d like to hear from? Let me know and I will reach out to them for an interview. Email tom@insidevgm.com or tweet at me on Twitter @TomSnively.

You can hear my album Major 7ths and Minor 9ths on Bandcamp. You can stream it for free or download it for “pay what you want.” You can try Match Em and Molecular Music Box by finding the links on tomsnively.com/credits.

You can play the podcast using the play button at the top of the post, or right-click on the “Download” link to save it to your computer.

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