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6.23.2006
"Once again, we’re anticipating breaking some very major, very cool new music. In 2003, it was Jet, Yellowcard and a new song from Blink 182. In 2004, it was Franz Ferdinand and “American Idiot” from Green Day. In 2005, it was Avenged Sevenfold, Fall Out Boy and new material from The All American Rejects. This year? Keep your ears open!" |
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6.14.2006
"The benefit of being trained on the Hollywood scoring stages is that you learn to adapt to the demands and pressures, which are really rigorous. The standard is incredibly high here and there is a lot of responsibility to deliver project under these constraints." |
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6.8.2006
"We are currently doing the last fingertip touches on the soundtrack for The Darkness, which contains elements of orchestra, choir, electronic music and heavy metal. Stay tuned! We have also signed another project, but at this time it's top secret." |
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6.7.2006
"Video Games Live (VGL) performed at the Merriam Theatre in Philadelphia on Saturday, June 3rd, the first time a video game music event has been performed in this region. This follows hot on the heels of their sold out San Jose show in March during the Game Developers Conference." |
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6.5.2006
"The orchestra finally seems to understand the weight of the series and its popularity in the game world this time around – live game concerts are not just a trend, as proven by the nearly sold-out show." |
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6.3.2006
"I use the traditional method of composing and orchestrating on paper...I've given up trying to compose using sequencers - though I have tried that a few times! I guess I'm set in my ways. Once the composition is complete, I simulate the performance of the orchestra using sample libraries." |
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5.26.2006
"Hitman has it’s own style and this needed to continue coming out through the score also. We decided early on that having more music that sounds like it comes from inside Agent 47’s head (like in Hitman: Contracts) was better than having music for all the different locations as we did in Hitman 2." |
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5.26.2006
"For SiN Episodes, I wanted to be completely intentional about all of the music. That is, I wanted every piece to be firmly rooted in relevant character and location themes in portraying the action." |
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5.19.2006
"One of the highlights of the book for me was the way in which ancient symbols, mathematical principles and timeless works of art were linked together in a fascinating web of hidden meaning, all leading to an astounding conclusion (which I won’t spoil here)." |
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5.17.2006
"It's really important for composers and game designers to work closely together rather than the composer feeling separated from the game’s development. Otherwise the game's music could feel just that - totally separate from the game." |
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