This extensive interview delves into the multifaceted career of Andrew Hulshult, a prominent video game composer renowned for his work on titles like DOOM Eternal, Dusk, and Rise of the Triad. We explore his creative process, influences, and technical setup, offering a candid glimpse into his life and work.
TouchArcade (TA): Briefly introduce yourself and your work.
Andrew Hulshult (AH): I'm Andrew Hulshult, a composer and sound designer primarily for video games, but increasingly for film. I also compose independently. My work encompasses sound design, soundtracks, and occasionally voice acting.
TA: How did you become involved with the cancelled Duke Nukem 3D: Reloaded and Rise of the Triad: 2013?
AH: Duke Nukem 3D: Reloaded (around 2010) began with Frederik Schreiber (3D Realms) remaking maps in Unreal Engine 3. I saw his work online, reached out, offered my music skills, and started remaking tracks. This led to Apogee (Terry Nagy) and Dave Oshry offering me work on Rise of the Triad: 2013.
TA: You've worked on numerous significant titles since then, including DOOM Eternal DLC. How have you evolved as a musician and professional?
AH: My early experiences were a learning curve, navigating industry norms and fair compensation. Initially, I focused solely on creating great art, but learned the importance of financial stability to sustain a career. After a challenging period with 3D Realms, I realized my demand and continued to learn from each project, refining my approach to both artistic creation and business dealings.
TA: What's the biggest misconception about video game music?
AH: That it's easy and unimportant. It requires significant skill, understanding the game's atmosphere, and the confidence to propose creative directions, often negotiating with developers to achieve a cohesive vision.
TA: Let's discuss Rise of the Triad: 2013. How did you balance respecting the original while adding your own style?
AH: I prioritized respecting Lee Jackson and Bobby Prince's legacy while infusing my rock and metal influences. Early feedback from Terry Nagy helped refine my approach, emphasizing the importance of respecting the source material while adding a personal touch. The process was collaborative, with the developers giving me creative freedom within the established framework.
TA: Bombshell and Nightmare Reaper feel more like metal albums. Was this a turning point where you realized your strength in blending metal with game soundtracks?
AH: Around that time (2013), I experimented more with my original style, aiming to showcase my capabilities beyond cover work. The development of Bombshell (initially a Duke Nukem project) coincided with my acquisition of an 8-string guitar, influencing the heavier sound that later appeared in DOOM.
TA: Did you fear being typecast as a "metal guy"?
AH: I still have that concern. While I love metal, I strive for variety, incorporating diverse elements like sound design and orchestral instruments. My confidence has grown, allowing me to experiment and trust my artistic instincts.
TA: Let's talk about Amid Evil DLC. You experienced a family emergency during its creation. How did that impact the music?
AH: My father's heart attack and subsequent surgery during development heavily influenced the DLC's emotional intensity. Composing became an outlet during a difficult time, resulting in a soundtrack reflecting personal feelings and tension.
TA: Amid Evil's "Splitting Time" is reminiscent of Mick Gordon's work. Was Killer Instinct an influence?
AH: While not a direct influence, Mick Gordon's Killer Instinct soundtrack inspired me with its production quality. It motivated me to refine my own production techniques.
TA: Nightmare Reaper feels like a standalone metal album. Dave Oshry's tweet ("...put his whole bussy into the Nightmare Reaper OST...") is relevant here.
AH: Bruno (the developer) wanted a metal album from me. While it needed to remain game-appropriate, it closely reflects my personal style at the time.
TA: How do you maintain dynamic range in a game soundtrack while maintaining a consistent style?
AH: I analyze gameplay to identify moments for ambient, low-energy, and high-energy tracks, ensuring smooth transitions between them. I treat it as assembling multiple pieces into a cohesive whole.
TA: Prodeus's soundtrack is impactful. What's your favorite track and any interesting anecdotes?
AH: "Cables and Chaos" is my favorite. The soundtrack's creation spanned the pre- and post-pandemic periods, resulting in a shift towards more aggressive music in the latter half. "Spent Fuel" notably incorporates sounds of Geiger counters and nuclear reactions.
TA: Iron Lung: How does composing for film differ from games, working with Markiplier, and how did the budget affect your approach?
AH: Film composition requires more collaboration with the director (Markiplier), interpreting his vision. The larger budget allowed for more extensive music creation, with on-set composition and a wider range of emotional tones.
TA: Dusk 82 was your first chiptune album. Was this your first foray into chiptune?
AH: Yes, it was my first true chiptune project, working within the limitations of the technology. It involved creating music using limited sound palettes (sine, square, triangle waves).
TA: With unlimited time and resources, would you chiptune-remake any album?
AH: Possibly Amid Evil, as its complexity would make for an interesting translation into a chiptune style.
TA: Remastering old soundtracks: You mentioned remastering Rise of the Triad: 2013.
AH: It's a significant undertaking, as seen with the IDKFA remaster, involving extensive time and effort.
TA: WRATH: Aeon of Ruin: How was it working on this soundtrack, given the game's development challenges?
AH: There were creative differences with the developer initially, but we eventually found common ground. The game's development issues impacted the creative process.
TA: DOOM Eternal DLC: How did it feel composing official DOOM music after IDKFA?
AH: It was surreal, going from a fan project to official work. The collaboration with id Software was fantastic, with a short but intense development period.
TA: "Blood Swamps" is incredibly popular, but not officially available. How do you address this?
AH: Bethesda and id own the rights. While I'd welcome an official release, I understand their decisions and don't mind fans sharing it online.
TA: "Blood Swamps": What was your creative process?
AH: id Software encouraged me to go "wild," resulting in a track that blends familiarity with the DOOM sound while showcasing my unique style. Collaboration with David Levy and Chad Mossholder enhanced the final product.
TA: IDKFA: Revisiting the original DOOM tracks: Did you consider altering them significantly?
AH: The focus was preservation, primarily improving the mastering to enhance clarity and avoid listener fatigue. Minor instrumental replacements were made.
TA: The DOOM II soundtrack in IDKFA: How did you approach creating new tracks while staying true to the DOOM II feel?
AH: I aimed for a fresh sound reflecting my current style, distinct from the original IDKFA DOOM tracks, which were preserved. Collaboration with Adam Pyle refined the final product.
TA: Influences from bands like Pantera in the original DOOM soundtrack: Your thoughts?
AH: There are definite thrash metal influences, likely reflecting the music the developers listened to during development.
TA: Requests for an IDKFA version of Quake: Your response?
AH: I remade the Quake theme as a response to online doubts about my capabilities.
TA: Your favorite bands and artists (in and out of video games)?
AH: Gojira, Metallica, and Jesper Kyd are among my favorites.
TA: Hypothetical: If you could compose for any game and movie?
AH: A Duke Nukem game (if done correctly) or Minecraft, and either Man on Fire or American Gangster.
TA: Your thoughts on Metallica's recent albums?
AH: While not reaching the heights of their earlier work, I still appreciate the quality of their more recent music.
TA: Most random piece of music memorabilia?
AH: A vinyl and plaque from Pantera's Great Southern Trendkill tour in Japan.
TA: How do you like your coffee?
AH: Cold brew, black.
The interview concludes with reflections on his career, current projects, and future aspirations, highlighting his dedication to continuous learning and creative evolution. The detailed discussion of his guitar setup and recording process provides a fascinating insight into his technical expertise.
