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Rainbow Splash

Pixel Carrot Studio hired me to compose music for their new puzzle game called Rainbow Splash. I’ve worked with them before on another ambient, relaxing puzzle game so I was very excited to partner up for another title. I ended up writing three tracks of music, each about two minutes long.

Below you can see the game’s trailer, hear a portion of one of the tracks and see how the game plays. I think it looks gorgeous and I love how the look of the game changes!

Go grab the game from iTunes here: https://itunes.apple.com/us/app/rainbow-splash/id1215505525?ls=1&mt=8

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Post mortem – Photosynthesis

Post mortem – Photosynthesis

I just did a recent post mortem on a hybrid track I composed/produced called Photosynthesis. In this video, I discuss the various sample libraries used and how I have my session set up. I show each sound element by itself, with and without effects applied and then show how the end product sounds. Other topics in this video include automation as well as side chaining compression to make drum impacts sound larger in the mix.

You can hear the whole track here: https://www.youtube.com/watch?v=ZLsYKFpO3-M This track is currently available for license. As I get more time, I’ll be doing more of these videos to share tricks and tips on audio production. If you have a specific question, I’d love to see how I can help answer it!

If you need custom audio, hit me up!

Bio:
Nate is an established composer/sound designer, based in Cedar Falls, IA. 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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Photosynthesis – Hybrid Ambient Cue

Here’s an hybrid ambient track that I did while testing out some new sounds and approaches in my studio.

Getting new libraries and trying out new techniques is always super inspiring. It’s at the heart of what makes hybrid writing so much fun. Almost anything goes! I hope it comes through in the music! For this track I wanted to create some interesting textures that feature a decent amount of movement. I also wanted the orchestration to grow and increase up to a climatic point and then leave the listener’s mood somewhat ambiguous. Does the song resolve on a positive note or is there still some drama hidden below the surface? I hope you enjoy the track! The music is currently available for license.

I’m still doing my day job at SGI as a senior composer/sound designer and freelancing at nights. On the weekends, I fight crime while wearing spandex. It’s a living! Need custom audio for your next project? Get in touch!

Hope you enjoy the new track!

– Nate

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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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Buzzopoly (big band)

Buzzopoly features some of the big band music I composed while working at Beecave Games. Driving drums, walkin’ bass lines, a soaring sax solo, punching brass stabs combined with scatting vocals make this an energetic and fun song!

The backstory

In my opinion, creating big band music with virtual instruments is extremely hard. Part of this is due to the large amount of inflections and articulations big band music requires. Another aspect is trying to create the interplay and give-and-take that live jazz ensembles do while performing. The rhythm section is responding to each other while also responding to the ensemble or solo player. Likewise, the brass and wind instruments are responding to each other as well as the rhythm section. It’s a very organic and fluid thing! To try and create that when being just one person working with 90% virtual instruments can be quite challenging. It can also be quite fun! To be honest, I’m not crazy about my singing voice – never have been. But it gets the job done and it was what I had to work with considering the budget and schedule constraints. All music and vocals are by Nathan Madsen. Final mix and mastering were done by Beecave Games audio director, Greg Allen. I hope you enjoy it!

Get in touch!

Wanna chat with me about your audio needs? Curious about what my favorite dessert is? Wanna challenge me at a round in Rocket League! Get in touch!

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World of Pixels

World of Pixels is a brand new song for everyone’s Friday!

It’s an ambient, peaceful, electronic track that I wrote recently for fun. It’s available for licensing currently. One thing I really enjoy about this piece is how the melody evolves each time it’s stated. It’s never repeated the same way. Either a new instrument joins in, new chords support it or the melody notes themselves change. I like using the visuals of pixels in the title because they can be both harsh, jagged and beautiful and smooth.

Using low-fi, chip-tune like sounds is a challenge as they can be really harsh around the edges. But when produced differently, they can be quite beautiful and smooth. I hope you enjoy the song!

Feel free to reach out should you have audio needs that I can meet!

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Up to No Good – Jazz Theme

Start your Monday morning off right – with some new jazz by Nathan Madsen! 😛

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. 😛

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.