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Spartan Fist is OUT!

What is Spartan Fist?

As the game’s page says: “Fight your way to fame, fortune and glory in this first-person puncher as you work to retrieve the fabled Spartan Fist. Playing as Emma Jones, a down-and-out detective working to earn her keep, youโ€™ll tap your inner badass as you punch dudes so hard they explode. Navigate through an arena thatโ€™s different each time you play and delve into a whimsically gritty and colorfully punk pixilated world while fighting your way to the top.”

Steam link: https://store.steampowered.com/app/632170/Spartan_Fist/

You can stream and purchase the soundtrack here:

Spartan Fist is probably one of the most aggressive games I’ve ever scored! It’s a first person puncher for crying out loud! ๐Ÿ˜› When Megan Fox, the owner and creative force behind Glass Bottom Games, approached me about Emma Jones and her next adventure, I was definitely intrigued. Like with Hot Tin Roof, where we fused chiptune and noir style jazz together, we knew that we wanted to fuse chiptune music with something. But what? What style would best fit the gritty world of punching dudes so hard they explode?!

The answer, of course, was punk.

Admittedly, punk music wasn’t a style I was super versed in. I’d heard of the Sex Pistols and the Ramones. I’d played Rockband during college. I’d even heard some more modern punk-ish style bands but punk music wasn’t easily in my wheel house. Enter an old friend of mine, Ben Cockerham! Besides being one of NYC’s most dapper dressers and a great guitarist well versed in funk, jazz and many other styles – Ben knew how to make punk sounds. This album wouldn’t have been possible without his help! Thank you Ben! Check out some of his great work here: http://bencockerham.com/music/

The voice of Emma Jones this time is played by Fryda Wolff. She’s been in a lot of cool things that you’ve probably heard of – Trolls The Beat Goes On, Mass Effect: Andromeda and Guardians of the Galaxy: The Tall Tales Series to name just a few. Go check out all of her work here: https://www.imdb.com/name/nm1488849/

Finally Megan Fox has been a pure JOY to work with. It’s rare to find a client that will push you into areas you don’t initially feel comfortable. Or ready for. But she’s just that type of client. The way we work together is pure collaboration and it’s a ton of fun! Check out the game and more of Megan’s work here: http://spartanfist.com/

A quick note about this soundtrack

In the song listing you’ll see “No melody” versions along side “Arena versions” and “Boss fight” versions of songs. Most people know what Boss fight means but “No melody” and “Arena” are a bit more vague. The “No melody” versions appear in the game when you’re going in between arenas. So much of the soundtrack is completely in your face, front and center that we wanted to give the player a little bit of a reprieve (but not too much!) before they re-enter the fray. The “Arena versions” of the tracks are what you’d hear while fighting in the… well… arena. Simple right? For the “Boss fights” we wanted to increase the already high energy to a new level because you’re fighting a boss. This is a big deal. Those bosses are pretty tough… and big.

This soundtrack is completely different from almost anything else I’ve ever done. And I think it fits the world of Spartan Fist very well. I hope you enjoy it. And watch out for the left hook. It can sneak up on ya.

Want to work with me on a project? Reach out! I’d love to partner up with you!

Bio:
Nate is an established composer/sound designer, based in Austin, TX. Aside from making various kinds of noises and music, he also teaches private lessons (saxophone and piano) and performs with live bands. On the weekends he likes to sit and watch the grass grow.

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Moving! And two new videos!

It’s been a good long while since I’ve updated this site! Sorry about that!

So some news – we’re moving BACK to Austin, TX. SGI is relocating me to the Austin branch to assist with audio needs down there and this will put us much closer to our families again. It’s a generous and amazing offer from SGI and we’re thrilled to accept it. Leaving Iowa will be bittersweet because it’s been a wonderful place for our family. Great people – beautiful nature and some really great places to eat! Moving, especially across multiple states, is never easy. So good thoughts, positive vibes and plenty of chocolate donations would be greatly appreciated! ๐Ÿ˜›

Also I’m still busy writing music and producing sound for SGI as well as freelancing on a film project as the sound designer and mixer, finishing up Spartan Fist’s music and audio as well as finishing up a few other unannounced projects on the side. Busy times! Below are two of my more recent releases – Treasure of Cortez and Monopoly Colossal Boardwalk. I hope you enjoy them!

Much more music and sound to come as things continue to be made public. Madsen Studios LLC will take a break in a few weeks with all of the moving craziness but we’ll be back in business once we’re settled in Austin! If you need audio – hit me up. I’d love to chat with you.

Bio:

Nate Madsen is a 13 year industry vet who’s worked in games, films, taught college courses and has performed and recorded in various settings on both piano and saxophone. He’s been with SGI for almost two years and has been running Madsen Studios LLC since 2005. On the weekends he likes to be very still and watch the grass grow. And he’s considering taking up the bagpipes. He’s currently in Cedar Falls, IA but, if you’re read this post above, you now know he’s moving back to Austin, TX. His favorite color is green.

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Spartan Fist

Megan and the crew over at Glassbottom Games have been busy making Spartan Fist, a first person brawler that is super fun! You punch dudes so hard, their heads explode. All in super cute pixel art style! For more info on the game, go check out http://spartanfist.com/.

Time to get punchin'

Here’s the awesome trailer with music by yours truly:

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The Big Move to Cedar Falls, IA!

Back in Sept of this year, my family and I moved from Austin, TX up to Cedar Falls, IA so I could begin working for Scientific Games Interactive. For those not in the know, SGI (https://www.sginteractive.com/) is one of the largest and most successful virtual casino gaming companies in the world! Currently over 9,000 employees! I was honored to accept the position of Senior Composer/Sound Designer at this prestigious company. Making a big move across the country is always interesting and while we certainly miss our friends and family in Texas (as well as all of the BBQ and Tex-Mex) we’re loving life here in Cedar Falls! Nothing I’ve worked on has been released publicly yet but I’m eager to share some of the work I’ve been doing with SGI once it’s made live!

BTW, I’m still freelancing, so hit me up if you have a project that needs audio. Also stay tuned for some announcements of some of the side projects I’ve been working on lately! Happy holidays and Merry Christmas.

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You Again – Web Series

In the beginning…

Back in December 2015, I started writing music for a unique, clever and funny web-series called You Again. The musical style is a fusion of different genres and approaches including some jazz mixed with light, comical orchestral, retro video game music and even some Celtic-like elements. Over the months I’ve been writing music and revising cues for each episode. For the most part, things were good with the usual bumps and back-and-forth that any show experiences during production. Then, due to circumstances outside of our control, we found ourselves without the intro music we were planning on licensing for the show’s intro/teaser.

We needed a theme song… and FAST.

The intro is a montage of quirky, fun actions by the two leads of the show and the vibe of the music needed to be fun, energetic, humorous and engaging. The track that we were going to license was a Celtic song filled with fast violin runs, accordion, hand percussion and claps, guitars and singing… in French. It sounded awesome and fit the visuals perfectly. The director, Andrea Kile Peterson, reached out to me and let me know about the situation right away. It was the evening of July 3rd and the show was going live July 6th. We talked about possible options and then I got to work writing a theme song. Writing super fast requires knowing each “trick” or technique used will have a good pay off. There’s no time to rethink, create doubt or even experiment. You just have to get it down and make it good the first time!

The plan.

My goal was to get something to the director by the next morning to allow for any feedback and revision requests. Right off the bat, I knew creating convincing violin runs in a Celtic style would require a lot of time and effort. It’s not impossible but it would take time. I knew we had to have everything finalized by July 5th in time for the launch the following day. So the first thing I simplified was the violin part. Instead of cool, complex Celtic violin lines, which would require lots of articulations and production, I went with quick staccato violin accents. Creating a simpler violin track allowed me to split up my focus and energy across all areas of the track (the drums, the guitars, the accordion, the hand percussion, etc). I had a majority of the piece written out in about 3 hours.

The last thing you want to do is get neck deep in only one layer and ignore the rest of the song. I’ve seen this happen time and time again and it can kill your momentum as well as destroy your time management. Writing quickly is a constant balance between the macro and the micro.

Bringing in some outside help.

For the guitars, I used a mixture of live and looped guitars to help fill up the sound. My buddy, Ben Cockerham, recorded some guitar lines early July 4th morning and they sounded great. Aside from the live guitar parts, everything else was virtual. To help give the piece a sense of evolution and more energy, I had tempo ramp up slightly over the whole song. This also allowed more of the hits to match up with the visuals. Mixing in the guitars and doing a final mix pass took about an additional 2 hours.

The take away.

By creating a plan and having a defined target, I was able to deliver the finished track to the director the very next morning. She gave some good feedback, I tweaked the mix and production a bit more and then got approval. All in, the entire song took about 6-7 hours to create.

Working quickly is a rush! It’s fun and it’s a challenge. I always view it as “Am I up for this challenge?! Can I do it?!” By focusing on what I knew I could delivery quickly and avoiding what would cause major time sinks and difficulties, I was able to create a theme song literally in the last minute with little stress and have a blast while doing it. The next time you’re in a crunch mode, ask yourself how you can ensure the highest odds of success. What are your “go to” bag of tricks and methods to help get the job done super fast?

The finished product!

You can see the final result below! And go check out the series, Episode 1 is now live!

Interested in me and my work? Reach out! I’d love to work with you!

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Chinese New Year

Here’s a Chinese New Year inspired theme I did for Beecave Games. Since 2016 was the year of the monkey, the slot theme was named Year of the Golden Monkey. It’s always a fun challenge to write music in a style from another culture than yours. It’s a tricky balance because you want to honor and accurately portray that culture while making the music your own. (And the music needs to work for the multimedia it’s designed for as well.) The artwork was done by the very talented Logynn Hailley! Check out more of her work here: https://www.behance.net/logynn-b-hailley

Reach out if you need a composer and/or sound designer! I hope you enjoy the music! Thanks!

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Up to No Good – Jazz Theme

Start your Monday morning off right – with some new jazz by Nathan Madsen! ๐Ÿ˜›

This is, perhaps, my favorite track I did while at Beecave Games! It’s a jazz theme much in the style of those 1930’s cartoons. I really enjoyed working on this one and I’m quite proud of it (both in regards to the composition and the production). Devin Lawson did the great artwork. This theme isn’t released yet – at least not currently – but I was able to get permission to post the music to my demo reel.

Wanna see more of Devin’s great artwork for this theme? Go here: http://devinlawson.com/portfolio/high-jinx-1-and-2/

Need some audio work from me? Get in touch!
As always, thanks for the comments and listening!

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The Quest for Donuts

Ever been on a quest for donuts? Who doesn’t love donuts?! I mean… really. Come on. And this song captures the feeling of going out and chasing the dream that is donuts. Originally written for a slot theme being produced by Beecave Games, which sadly ended up not coming out. But fear not! I was able to get official permission to share this orchestral track with you all and I sincerely hope you enjoy it!

Side note (no pun intended): My favorite part of the song is breakdown section that happens after the crescendo at 1:22. But the piece is short enough that you should really just listen to the whole thing. Several times. ๐Ÿ˜›

This track is not available for license and all rights are reserved. Reach out should you have any audio needs!

Thanks!

Bio:
Nate is an established composer/sound designer, based in Austin, TX. Aside from making various kinds of noises and music, he also teaches private lessons (saxophone and piano) and performs with live bands. On the weekends he likes to sit and watch the grass grow.

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Of Love and Sorrow – Main Theme

Here’s the main theme to Of Love and Sorrow, a new game being developed and published by Niels Bauer Games. Madsen Studios LLC – an Austin, TX based audio company, was hired to compose the music for the trailer and the game itself. It was really fun to write the music for a civil war, text game. For this theme I wanted to capture the grand, epic conflict while also showing some of the more tender moments of the game. In a way, this piece harkens back to Civil War epic soap operas that I saw on TV as a child in the 80’s. Check out the music and the game, once it’s made live!

Please reach out if you need original music or sound design for your next project. I’d love to help out!

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It’s time for a divorce….

It’s not you, it’s me.

It’s time for a divorce… from your work. If you’re a freelancing or hired audio professional, that is. Too many times I’ve seen audio professionals, as well as folks in other disciplines, grow too attached to their work. This is a dangerous thing because it causes you to lose perspective and potentially over react when criticism/feedback is delivered. This can harm the collaborative effort which is vital to projects like films, video games and other multimedia. When we compose music or produce audio for a project, it’s NOT own our audio anymore. It belongs to the project.

It’s not about our personal feelings, tastes or bias.

It’s not about our own egos.

It’s not about our own preferred work flows.

It’s only about what content/methods would best serve the product.

I picked the title carefully because divorce is, from what I’ve been told, a very hard and personal thing to go through. Likewise, having your work criticized can be very painful and difficult. It can feel personal, even when it’s not meant to be. Divorce is also the act of detaching two things that were once very close to each other. When I’m doing work for a client or for an employer, I remind myself that I’m “divorced” from the audio. I put myself in a very different mindset than when I’m working on my own projects as a hobby. This enables me to better receive feedback from management and peers as well as objectivity look at my work and see how it’s lining up with the product’s designs and goals.

It takes practice.

This is a skill that can take some time to develop. My advice is to keep a cache of personal projects on the side where you can do whatever you wish, in whatever manner you wish to help satisfy that personal creativity. This way you can keep a part of “you” in your work and not feel like a drone and also be better prepped to fall in line with what your given roles are on a work-for-hire project or employer. Please notice what I’m not saying: I’m not telling you to sell yourself 100%. I’m not saying you shouldn’t be invested in work or be passionate about it. I’m not saying to give up your personal ideals or methods. That’s not healthy and odds are not why people hired you to make audio for them. They want YOU involved! But sometimes you do have to adapt and change your approach to better serve the project. If you’ve never been through honest feedback on your work, then I’d suggest putting your work online and letting folks from the professional audio realm review it. Many folks, myself included, will listen and gladly give our input. This works great because it’s not your friends or family listening and saying “sounds great!” even if it doesn’t. This is good, honest feedback from folks that should have the ears and skillsets to be able to distinguish what’s going great in your work and what could use some improvement.

Growing a thick skin.

My first real exposure to blunt, concise feedback was at FUNimation Entertainment, where I worked as a composer/sound designer in the Special Features/DVD dept. I would create the music and sound design, as well as edit and produce dialog from the show into a trailer for anime shows and films. We’re talking top tier anime work like Dragon Ball Z, Yu Gi Oh and such. Once the audio was done, I’d have a quick review with the brand manager, head of the video editors and sometimes even a VP of the company. Feedback was sometimes as brief as a few words:

“Love it!” “Doesn’t work.” “Hate it.” “Redo it.”

Then the folks would go back to their jobs and I’d be left making any needed fixes. That kind of environment forced me to grow a thick skin quickly. And you need a thick skin to be successful in this industry. It was at this job that I started the notion that any critiques were not personal in nature and were not directed at ME. They were directed at my work and how well it lined up with the product. This helped me better process and apply the feedback. In turn, this made me much better at my job.

Take a moment.

And the next time you feel yourself getting heated or protective of your work due to some criticisms, take a deep breath. This is creative work and therefore passions can play a large factor. Take a moment before responding and remind yourself – this is no longer YOUR audio. You’ve divorced yourself from it and instead, it’s the PROJECT’S audio. Do what’s best for the project. Hopefully everyone else on the team will be like minded and focused exclusively on what’s best for the project as well. Not always the case but one can hope!

Best of luck!

Bio:
Nate is an established composer/sound designer, based in Austin, TX. Aside from making various kinds of noises and music, he also teaches private lessons (saxophone and piano) and performs with live bands. On the weekends he likes to sit and watch the grass grow.