Madsen’s Musings Ep. 2 is out! Head on over to my youtube channel and check out episode 2 – which discusses how one’s career path can often have twists and turns that can surprise them. More vlog episodes will be released over time and I’m open to new topic ideas!
Ouija: Board of Fortune is one of the recent slot games SGI released which features my music and sound design. So often I have to write in an upbeat, peppy, happy manner, so it’s refreshing when I get to take a stroll on the dark(er) side of things! The artwork has a very gothic feel with a supernatural undercurrent so I wanted my music to give a sense of foreboding, slight dread mixed with action. Check out the demo here: https://youtu.be/2vkiuic_U-8
My friend Logynn B. Hailey did the artwork and I thought she killed it! You can see more of her artwork here: https://www.behance.net/logynn-b-hailley. You can play the slot currently on the Goldfish App: https://www.facebook.com/GoldFishCasinoSlots/ and it will be out on other SGI casinos in the future.
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. He’s also quite fond of fancy beers.
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, you’ll tap your inner badass as you punch dudes so hard they explode. Navigate through an arena that’s different each time you play and delve into a whimsically gritty and colorfully punk pixilated world while fighting your way to the top.”
Spartan Fist is probably one of the most aggressive games I’ve ever scored! It’s a first person puncher for crying out loud! 😛 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!
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.
The View Upon the Horizon is a piece that I wrote just for fun! I was playing around with some chord progressions last Sunday and then stumbled upon this melody. The entire piece was written in about 45 minutes and then I hired a great cellist (https://www.fiverr.com/caroteruel) to record the part for me. She nailed it! This is actually an alternate version where the piano part is also a bit more simplified than the first arrangement; which I feel helps the melody breathe a bit more. The piece reminds me of someone looking over a land that they’re about to leave. The future is somewhat uncertain but their honor and duty propels them forward on their quest.
I hope you enjoy it! And, as always, please get in touch with me should you need custom audio for your next project! I always love working with folks!
https://madsenstudios.com/wp-content/uploads/2017/07/iStock-513799130.jpg8421246Nate Madsenhttps://madsenstudios.com/wp-content/uploads/2014/07/madsenstudios_transparent_2014-300x207.pngNate Madsen2017-07-09 14:14:062018-06-15 20:23:02The View Upon the Horizon
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!
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!
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.
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!
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!
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!
https://madsenstudios.com/wp-content/uploads/2016/07/You-Again-Logo.jpg400400Nate Madsenhttps://madsenstudios.com/wp-content/uploads/2014/07/madsenstudios_transparent_2014-300x207.pngNate Madsen2016-07-07 10:53:552018-06-15 20:23:04You Again - Web Series
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!
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!
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!