(8/05) Music4Games has a new feature about Bill's session with the Hollywood Studio Symphony on the Eastwood Scoring Stage at Warner Bros. Studios in Burbank, California for The Incredible Hulk: Ultimate Destruction
Vivendi Universal/Sierra/Radical listing some of the production team and quoting Bill, Tim Bennison - the game's producer, Scott Morgan - audio director at Radical and Eric Holmes - lead game designer.
Excerpts:
Scott Morgan, audio director at Radical Entertainment: "Working on The Incredible Hulk: Ultimate Destruction music with Bill Brown was an incredibly fun and exciting experience. Not only was it a pleasure to work with such a talented composer but to witness his score come alive through the recording of a live orchestra (The Hollywood Studio Symphony) was certainly the icing on the cake. Being responsible for integrating the music into the game, I had the pleasure of being the first person to witness the impact the music brought to the game experience. Bill's music, from the moment we first heard it here at Radical, seemed the perfect fit for The Hulk. It was not only as intense and powerful as we imagined, but also contained that timeless superhero quality that reflected the inner complexity of Hulk's character. It is the perfect accompaniment for both the intense action of the game play and the psychological drama of the story."
Tim Bennison, the game's producer: "Bill's music gives the game a huge boost in cinematic feel; you actually get swept up in the feeling that you are playing the main character in a superhero movie. The first time I heard some of Bill’s music in an early build of the game, when all you could do was jump and climb around an empty city, I couldn’t believe how intense the emotional response was to the visuals and the movements of Hulk the music was the emotional connection to the character, even at this early stage."
Eric Holmes, lead game designer: "We stated our needs and Bill’s music hits the spot... I think it’s fair to say that the impact of Bill’s work surprised us all, and I wouldn’t trade the final music for any other - it’s perfect. When you’ve finished the project, isn’t that the best spot to be in?"
Bill Brown's Comments (not included in article): "Working on this project was truly an act of grace from beginning to end.. I flew up to meet with Scott Morgan, Tim Bennison, Eric Holmes
and the rest of the Hulk team at Radical, and we took some time to
begin to shape the direction of the score and how Scott would
implement it in the game. I was really impressed with the engine they
had designed to create a reactive audio experience - in tempo and in
multiple layers. Eventually I would be delivering the score to Scott
in multiple stems. He took those stems and created a score that reacts
to the player (Hulk) throughout the game interactively in layers.
When I got back to my studio and began writing, this particular set of
chromatic-median scales surfaced, a whole-tone, half-tone angular
melodic approach that I felt suited the Hulk nicely. Then the weighty
heroic sound came from using smaller sections of those scales -
distilling them into more muscular shapes. There were three or four
distinctive themes that happened in and around the hour or more of
action material that I was writing in the span of about 4-6 weeks,
including the in-game cinematics or cut-scenes - which came in slowly
as I was writing and mocking up the score. To give the percussion for
the score an extra edge, I enlisted the help of Kurt Wortman, known
for creating the sample libraries Percussive Adventures 1 & 2. We
spent an entire day at Signet Soundelux Studio A recording percussive
beds which I edited into stems and imported into Logic later to add
something unique to each cue.
As it turned out, my mock-ups were so good - we didn't need to record
the whole score live, so we widened the orchestra players in numbers
and focused our time in on those cues that I thought needed that extra
breadth the orchestra brings - which included most of the cues where
the string section was really breathing, knowing how they would bring
the cues to life. Every little bit helps - especially in regard to the
number of string players available while covering the rest of the
orchestral bases, as it were. The next step for me after choosing
which cues would go to the stage was to send the midi files with my
mocked-up orchestrations over to my orchestrator/conductor James Sale
so he could create the full score and parts for the orchestra. James
and I have known each other for so many years, he basically reads my
mind, which leaves me more time to hang out with the producers and
tell jokes and such in the booth, which is nice. The process was so
graceful - I was lucky to have such a wonderful team. I created the
score in the most easy and fun collaboration I think I've ever had.
Scott Morgan was excited about the music, offered insight into the
game play and narrative and helped me take the music to the next level
with each new idea. Then I handed the cues off to my assistants to
create the Pro Tools sessions from my Logic sessions for recording at
Warner Brothers, and sent the midi files to James. Mike Farrow - an
old friend that I recorded with previously, was nice enough to join us
and mix/engineer the session. And we were blessed to have the A-list
of LA players with us that day with the help of Leslie Morris, our
music contractor. They brought the score to the next level for sure..
as they are so apt to do.
And the rest is "in the game"... for you to hear.. I'm grateful for
the opportunity to create this score, and so glad I had the chance to
work with everyone at Radical and at Universal/Vivendi."
Listen to a sampling of Bill's The Incredible Hulk: Ultimate Destruction music. View Photos of the recording session.
Music4Games has a new feature about the live orchestra session for Lineage II: Chronicle 1 - Harbingers of War
(NCsoft) listing the production team and quoting Bill, An Yong Jin the Sound Director for the game and Stacey Yoon the Executive Creative Director on the experience. Read the full feature here. (5/04) Excerpts:
Stacey Yoon: "I am very happy and satisfied with what Bill Brown has given to this Lineage 2 game. His music is very straightforward and describes the scene exactly the way I want it to and at the same time his music is very diverse and is able to bring out so many different colors and traits."
Listen to a sampling of Bill's Lineage II: the Chaotic Chronicle music.
GameZone has posted a new interview with Bill featuring some background on his Lineage II score as well as general questions on his creative process, inspirations, upcoming projects and more. Read the full interview here. (7-03)
Excerpt: GZ: "If you could work with any writer, director, composer, etc., who would it be and why?"
Bill Brown: "Want to know who I feel I "should" be working with right now? David Fincher. If there is one director who I feel totally simpatico with - and I would love to collaborate with - it's David. If you listen to my music - and then think of his films, "Seven", "The Game", "Fight Club", "Panic Room", or "Alien3" - how perfect of a collaboration would that be? I'm going to give him a call right now… :) Seriously, if anyone out there knows my music and knows David - please hook us up now - it's time! When I think about it, I realize there are so many incredibly talented people in this world that I would love to work with - continued...
IGN has posted a press release by NCSoft announcing that Bill Brown is writing the musical score for Lineage II: The Chaotic Chronicle. NCSoft will showcase a new video sequence from Lineage II at the 2003 Electronic Entertainment Expo (E3), which will provide a preview of the musical concept Brown is creating for Lineage II. Read the article here and view NCSoft's E3 site. (5-03) Listen to a sampling of the music. Excerpt:
"Brown, who believes that creating an affinity to game players on a spiritual level as well as a physical, mental, and emotional level is of the utmost importance, explained his decision to write the score for Lineage II: "It's an important opportunity for me to write an epic fantasy soundtrack on a scale that I have never experienced before, and I was deeply impressed by not only the game environment but also the original animation and graphics." Asked about the musical concept for Lineage II, Brown noted, "Never before has a role-playing game been set in such a mysterious atmosphere, so, I tried to make the music bring out this mood as much as possible."
Music4Games has a new feature titled "Ubimusic Records Live Orchestra For Rainbow Six 3: Raven Shield" listing the production team and quoting Bill and Simon Pressey of UbiSoft on the experience. Read the full article here. (4-03) Excerpts:
Music4Games: "In the recently released R63: Raven Shield (Ubisoft), certain cinematic sections of the game were recorded with a 35 piece orchestra in Montreal, Canada, with top players from the Montreal and Metropolitan Symphony orchestras. The music was composed by veteran game composer Bill Brown and supervised by Simon Pressey, Lead Sound Engineer and Audio Artistic Director, UbiSoft Entertainment."
Bill Brown: "The range of emotion that comes from recording with a live orchestra adds so much to the experience. I heard that the producers at the session had a really fun time hearing the music for their project being recording with the Montreal Symphony as well. They told me that they looked at the cinematics in an entirely different way with the live score underscoring them. Rainbow Six has always had a big orchestral backdrop - everything that I've done here in my studio up to this point. Now Ubisoft and Red Storm are very interested in taking the sound in their games to the next level - sonically and interactively/reactively speaking."
View a movie clip of the orchestra playing a bit of Bill's Raven Shield music and listen to a sampling of the music.
Music4Games Interview with Simon Pressey - UbiSoft Audio Director - Tom Clancy's Rainbow Six 3: Raven Shield. (6-03) Excerpt:
Simon Pressey: "...in general the production values are going up and cinematics are starting to take on Hollywood production values many of which I am glad to embrace. We used real orchestra on the RS cinematics and the emotional impact that that brings is undeniable."
Simon Pressey: "Music is a very powerful tool. In RS we already had a really strong, existing composition from Bill Brown. We wanted to take all that and build on it. Using all of the existing elements of strings and brass, military snare, mood evoking electronic ambience, with new themes that capture some of the Latin American element, Real live Orchestra for the cinematics. Bill rose to the challenge and I feel benefited from the constant feedback and direction that I sung down the phone to him."
Check out GameSpy's article "Does Melody Matter?" which gives an overview by GameSpy's Sal "Sluggo" Accardo, of one of the panels that Bill participated in at the March 2003 Game Developer's Conference. (3-03)
Excerpt: "Four of today's leading game composers talk about creating memorable game music... The discussion started with Bill Brown, who showed small bits of footage from various games he's worked on. Mood and tone were the focus, moving from the military stylings of Ghost Recon and C&C: Generals to the creepy menus of Clive Barker's Undying to the dramatic score of the opening cinematic from Return to Castle Wolfenstein. As a comparative tool, Brown showed a clip from the end of a failed Rainbow Six mission and then end of the same mission completed successfully. Both pieces were based on similar themes, with the "failed" music taking a somber tone, while the "success" music was more jubilant."
Bill has just finished up an interview chatting with John [JCal] Callaham from HomeLAN. Check out the full interview here. (2-03)
Excerpt: JCal: "Where do you see the future of music in game soundtracks going in the next few years?"
Bill Brown: "I see more artists using games to promote themselves, and in turn I see a burgeoning game soundtrack market - which will be great for game composers and publishers alike, not only for the additional revenue but also as a promotional tool for the games. I imagine there will be more sophisticated use of score in games, both in linear and non-linear forms. I hope to see much more use of music and sound in a subtextual way in games as opposed to "what you see is what you hear…"
Excerpts from an Interview with Mical Pedriana, lead sound designer at EA Pacific for Command & Conquer: Generals, by CNCNZ. (10-02)
CNCNZ: "As we know, the composer scoring the game will be the award winning Bill Brown. Why did EAP decide to use Bill Brown for this game?"
Mical: "The 3D visuals of Generals has a more cinematic feel than the previous C&Cs, so we wanted the score to compliment the new visual style. Bill’s past music was a good reference to the direction that we wanted to go."
CNCNZ: "Bill Brown has won awards for scoring games such as the Rainbow Six series. Will the music for Generals be a different style from his previous works?"
Mical: "The music for Generals will be composed by Bill Brown and Mikael Sandgren of Soundelux DMG in Hollywood. The three different sides of C&C: Generals will have their own musical style. The USA side will be heavily influenced by the powerful orchestral sound that Bill has been known for. Mikael's work on the GLA side music is inspired by the ethnic tensions portrayed in films such as Black Hawk Down. The Chinese will have a powerful ethnic percussive sound mixed with traditional strings. They are all sounding amazing and very effective in bringing out the flavor of the different sides."
CNCNZ: "I am very much looking forward to hearing some of the music produced from both Bill Brown and Mikael Sandgren. With both of them working on the game, I expect we will have nothing but top notch music."
Music4Games.net is featuring a new interview with Bill. They have also recently posted a review and a feature on The Sum of All Fears game. Listen to Bill's Music from The Sum of All Fears including eight new cues produced for the Xbox, Gamecube and PS2 versions of the game. (8-02)
Excerpt: Music4Games: "What do you consider to be the most important aspects of composing a game soundtrack?"
Bill Brown: "I would say that first, I try and create music that really evokes a sense of the atmosphere of the game viscerally and emotionally. That has always been a high priority for me. If there isn't a connection on that level, the music really doesn't need to be there in the first place. It's one of things I most enjoy about composing - being able to make that connection. It seems gamers appreciate what I do, and that makes it even more enjoyable - and I'm very thankful for that aspect. The next thing I consider is how the music will work in the game - what function it will serve. I like to be involved in the pre-production process as early as possible just in case there is something important in the engine design or in the overall game design that needs to be addressed in relationship to the score. I also like to write thematically, as opposed to just texturally whenever possible - so that becomes a consideration very early on as well. Technically, whether a soundtrack works dynamically or statically (atmospherically) also becomes an important consideration. Both can be very effective, depending on what is needed interactively."
A new interview with Bill and a special feature which includes mini reviews of many of Bill's scores are now available at ScoreCentral! (8-02)
Excerpt: ScoreCentral: "How has it been working with live orchestra for your music? Does it bring the added touch or layers, other than using synths?"
Bill Brown: "It absolutely brings added layers and dimension. There is nothing like the sound of a live orchestra, it can create such an immediate connection with the listener. There is something organic, visceral, and human about it that speaks directly to the soul. Synths and samplers are great and have their place. After having worked with several big orchestras, I can tell you point blank, the orchestra adds incredible depth and dimension to my recordings that wouldn't be possible otherwise. I also really enjoy the process of working with orchestras - it brings another level of talent, inspiration and joy to the process."
Gary Garritan of Garritan Orchestral Strings has just posted a new interview with Bill, featuring music tracks that are new to this site from Bill's The Sum of All Fears (PC) - (Action Strings) and Scorcher - (End Fight Sequence) soundtracks which feature samples from the Garritan Strings library. Questions by members of the NorthernSounds forum provide some unique insights into the technical aspects of Bill's music. (7-02)
Excerpt: Phattlippz: "Bill--all of your music sounds very "organic" (for lack of a better term) to me. I find myself wondering how much of it is sampler-derived and how much is live. Your hand percussion for example (aside from loops) sounds like it was played live in several of your cues. Is that true?"
Bill Brown: "Many of my scores use live percussion, I’ve even played Djembe, cymbals, Conga, etc. on several tracks myself (One example you can hear on my site being "Volcano Rescue" from "Scorcher"). I’ve also been lucky enough to work with some great percussionists both in Seattle and here in LA."
Excerpt: Dwdonehoo: "What is your main musical instrument? I am guessing guitar...?"
Bill Brown: "GigaStudio! : ) Piano has always been my principal instrument. I just recorded the Main Theme for the upcoming game Rainbow Six: Raven Shield and played the flamenco guitar parts at the end of the cue myself – I’ve been practicing for weeks!"
Listen to Bill's radio interview on the TV & Movie Soundtrack show "Visions In Sound" with Host/Producer Rob Daniels on CKMS 100.3FM in Waterloo Ontario Canada which broadcast on Friday April 19 2002. In addition to the interview some of Bill's music from Any Given Sunday, Ali, Trapped, Scorcher, Return To Castle Wolfenstein and Tom Clancy's Rainbow Six - Rogue Spear is featured in the program including a couple of tracks that are not on this site! (4-02)
Due to file size constraints these interview files were recorded in a lower quality than the music files on this site.
"Visions In Sound" Interview Part 1 Stream
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Download 19.1 mb Length 41.46
"Visions In Sound" Interview Part 2 Stream
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Download 24.8 mb Length 54.14
Excerpt:
Bill Brown: "A good film score, a good game soundtrack, they 'serve' the project. They serve it in the deepest possible way, that is what they are there for. When they are really working at their best, when they are working at 100%; that is what they are doing - is serving the project. That actually might mean that while the audience/player is immersed in the game or in the movie they actually may not realize that they are hearing a live orchestra or that they are hearing a theme that truly connects and resonates with the project. But what occurs in that place is that the audience finds themselves connecting with the experience at a deeper level, so instead of being removed from the experience; lets say if they hear a cheesy synth score or something that doesn't quite fit, that's something that could actually just pull the audience right out and I think we have all seen that, so the opposite would be something that is actually a tool that connects and draws that audience in at a whole other level, at a level that actually isn't in a thinking place."
Listen to more "Visions In Sound" shows with Rob Daniels via their live webcast stream generally every Friday from 12:15 p.m. to 2:00 p.m. Pacific Standard Time / 3:15 p.m. to 5:00 p.m. Eastern.
X-Treme Gaming Radio broadcast an audio interview with Bill, by the Founder and President of XGR, "Paligap". Pop over to XGR and listen to the interview via MP3! (2-02)
Excerpt: Paligap: "Recently you've worked on Ali. Tell us about your experience there."
Bill Brown: "...There was a song for the end of the film by Salif Keita called "Tomorrow"... They brought me in to do a string arrangement through the song and through the end of the film into the end credits to get it to rise up and to bring the intensity up to match what was happening in the film... There was three minutes before that moment where they were trying to get that song to work and it was just not happening... so I said why don't I give it a shot... I came back to my studio and did a mock-up overnight, came back, sat down with Michael Mann and he said "That's great, that sounds phenomenal". Eventually we took that to the stage at Sony here in LA and recorded with a live orchestra, so basically it's that three minutes that lead up to the song and cross fades right into that song and the string arrangement you hear over that song, taking you into the end credits is what I got to do on that. I got to sit with Lisa Gerrard in that session and for that whole evening that we were mixing and chat with her and all the people there, it was such an honor. That was such a beautiful experience. It was great to work with Michael. Incredible director, incredibly focused, very powerful, just a cool experience."
Bill is the featured cover artist in the Gamasutra Game Development Gallery! Registration (free) is required to view the extensive article and other Gamasutra features. (9-24-01)
Excerpt: Disney's Villains' Revenge: "This game is wall to wall music! Better yet, it's all in the style of the classic Disney animated films. I had a fantastic time working with the entire staff over at Disney on this project and I have to say they were so dedicated to this game. The game itself was created using real cell animation (people painting each cell by hand!) then digitizing the cells and rendering them into a 3-D world with 2-D real-time animation - like in the movies, but interactive! The score is also one of my favorites and gave me a chance to do some lighter stuff like Enchantment, as well as my trademark big orchestral stuff including this cue, The Magical Book".
"Interview with successful composer, Bill Brown"
by Jodi Krangle of Muse's Muse. (5-01)
Excerpt: Jodi: "What is the difference between composing a score for a movie, for a video game or a score for a TV show?"
Bill Brown: "The music for a film is composed to (for the most part) a finished cut of the film. That makes the scoring process linear. The same goes for TV, with mostly tighter schedules. With Games, the music is composed to be used in a non-linear way, so new techniques for creating music that works interactively come into play. Thematically, there are similarities between the two. Where a theme can help the audience connect with a character or place in a film, the same can happen in a game. Where the overall arch of a film can be supported by thematic development, the same theory can be applied to the overall arch of game play."
Interview with Greg Stelmack of Red Storm Entertainment by Creative Labs (3-01)
Excerpt: Question: What is your inspiration for audio design and effects in your games? Can you give some examples of great game audio?
Answer: Much of the inspiration for our audio design has come from movies that fit our genre. Movies like "The Rock", "Peacekeeper", and "Air Force One" set the expectations of our audience, so that's the level we have to live up to. Soundelux has provided the effects and music for the entire Rainbow Six line, and their experience on these kinds of movies has proven invaluable. They also connected us with Bill Brown who scored the music for our games. His soundtrack helps set just the right mood for the games.
Listen to the new audio interview with Bill by Robin Wilson, Station Manager of Electric Play Radio (12-00):
EPRadio Interview Stream
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Download 6.1 mb Length 35.37
Excerpt: Rob: "When did you start working on music?"
Bill Brown: "When I was four I demanded a piano... and then I started just playing. Even at that age... it was like meditation for me and it continued to be that way, through high school and going to Berklee. I was very fortunate to have that education. All education is what you can bring out from inside yourself, I think that really is the definition of education, to bring forth from within, and so it's what you make it and Berklee was what I made it. It was many things. It was synthesis, production and engineering, film scoring, song writing, orchestration, contemporary orchestration and theory, even jazz theory and harmony, all of which have been a great support in my following my dream."
Five members of DreamWork's video game development team--- Producer Brady Bell, Lead Designer Dell Siefert, Composer Bill Brown, Sound Designer Erik Kraber, and Lead Artist Brian Horton -- discuss working with Clive Barker on the game Undying with GameSpy. (12-00)
Excerpt: GameSpy: "Did Clive Barker have any input on the score?"
Bill Brown: "I did get Clive's influence on things, but it actually worked more like a committee; it was more of a collaborative kind of thing between all of us: me, Clive, Brady, and the other guys. In games, that's pretty common."
Read the full interview on GameSpy!
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John Galvin, associate producer of Clive Barker's Undying, speaks with Bill Brown about creating music for the upcoming horror-based FPS. (11-00)
Excerpt: John Galvin: "First, a brief background on our surrogate team member, Bill Brown. Well, if you're into a good gaming experience, chances are Bill is musically tied to it one way or another. Bill has scored some of PC's most recent and popular titles. His long resume includes such memorable titles as Rainbow Six, Rogue Spear, QIII Arena, QII, the upcoming Anachronox and Michael Crichton's Timeline. Bill's music can be spotted in such film and television work as Oliver Stone's On Any Given Sunday, Gus Van Sant's upcoming film Finding Forrester and ESPN and ABC sports commercial work. To say he's versatile and talented is an understatement."
Read the full interview on GameSpy!
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Another mention of Bill's Undying music on
ZDNET-Gamespot. (12-00)
"Clive Barker's Undying also uses an innovative approach to music and sound design, spearheaded by composer Bill Brown (Rainbow Six and the forthcoming Anachronox) and sound designers Jack Grillo and Erik Kraber. While Brown composed synthesized music for the cutscenes and made use of a live choir, the majority of the game levels feature no looping music at all, but rather four dynamically mixed sound-effects tracks. The result is ambient music that changes to reflect your environment and subtly suggests the emotions you should feel at particular points during the game."
GameSpy Interviews Bill Brown (7-00)
Excerpt: GameSpy: "When you work on a game's sound score, what do you do to prepare yourself?"
Bill Brown: "Each project that I work on has some aspect of it that inspired the writers, producers, the director, the editors, animators, and the list goes on… I am blessed with the ability to tap into that creative aspect fairly quickly. Some projects speak to me on deeper levels of my being, where I draw from my own experiences and bring something to the table that way. Sometimes it's a matter of thinking "out of the box" and bringing a fresh perspective to the overall picture. Either way, it's always a challenge, and always exciting. I am very grateful I get to do what I do every day."
Read the full interview on GameSpy!
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FragMusic interviews Bill Brown (3-00)
Excerpt: FragMusic: "The reviews of the games you have worked on always include comments on the excellent music. Does this give you a sense of real accomplishment to receive such kudos even when the authors don't refer directly to you?"
Bill Brown: "The reviews have meant a great deal to me. The fact that they have rarely included my name isn't (really) the reviewers faults, I think that is mostly because of the way game developers and producers have credited artists so far, because they haven't seen any real value in placing credits on box covers, etc. I have a feeling that will begin to change as the industry matures and we'll hopefully begin to see the credits just as we would see them on a video tape or DVD box. I think gamers would appreciate that. We're all fans who know and enjoy our favorite artists out there, treat us like fans and let us in on the credits, please!! I think the time has come."
Autograph Central interviews Bill Brown (1-00)
Excerpt: Autograph Central: "Do you think that technology in general is a good or bad thing for the music industry?"
Bill Brown: "Great thing... the technology. But you cannot, and I repeat, cannot replace the soul of a musician with a computer chip, it will never happen. (Unless you are in the movie "The Matrix", and even then I'd have my doubts...)"
Bloodshot Interviews Bill Brown (11-99)
Excerpt: Bloodshot: "What has been your favorite project, or type of project to work on?"
Bill Brown: "That's a tough one. I've been very lucky in that each project I've worked on I've enjoyed very much and found something unique and interesting to connect with and learn from. It's hard to pick a favorite. Lately, I've enjoyed working on Oliver Stone's upcoming film "Any Given Sunday" which is due in theaters just before Christmas. It gave me a chance to do more really authentic Hip Hop, House, and Techno-Rock music, as well as some eclectic textural stuff. The games I've written music for this year have been great, I really enjoyed working on the Rainbow Six series again with Rogue Spear, (I'm actually working on the mission pack for Rogue this week) along with several exciting new projects that will soon be posted on my News page."
Total Video Games interviews Bill Brown (6-99)
Excerpt: Total Video Games: "How did you manage to make the sound in Rainbow Six sooo realistic and fitting?"
Bill Brown: "It was all done in my studio here in Los Angeles. I've always loved dramatic underscore, and both "Trespasser: The Lost World" and "Rainbow Six" allowed me to do what I love the most - create a world, a mood to engage the listener and involve them the same way I feel involved with the project."
Well Rounded Entertainment's Interview with DreamWorks Brady Bell, producer of "Clive Barker's Undying". (6-00)
Excerpt: Well Rounded Entertainment: "You plan to use Celtic-inspired spiritual tracks. Will those be synthetic or a live recording?"
Brady Bell: "Most of what we have planned is live recordings. We're fortunate to once again work with Bill Brown, an incredibly talented composer who writes for both film and games. Bill has a unique talent of working wonders with very little direction and the ability to create underscoring themes that never leave you."
3DSoundSurge Interview with Brady Bell of Dreamworks Interactive - Trespasser: The Lost World - (6-98)
Excerpt: Brady Bell: "The quality of our music is outstanding. A composer named Bill Brown (out of Soundelux) has worked some serious magic. Spielberg himself commented on how impressive this relatively unknown composer puts music together."
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