Marty O’Donnell earned his Masters of Music Degree in Composition with honors from USC in the early 80’s. Fresh out of college, Marty founded the Chicago-based commercial music and sound production company, TotalAudio, which in 1997 produced sound design for Cyan’s Riven, the Sequel to Myst, and created all of the audio for Bungie’s award winning Myth series. His body of work also includes numerous original scores for television, radio, and film.
In the spring of 2000, ten days after Marty accepted a position as Bungie’s Audio Director and Composer, Microsoft purchased the studio and moved them to Redmond so they could focus their efforts on developing Halo for the Xbox platform launch. The highly acclaimed Halo series went on to be extremely successful, shattering entertainment records for both single day and first week sales, and with the total number of Halo games played now tallied in the billions.
The audio and music for the Halo series has received numerous honors and awards, including the Game Developers Choice Award, the Edge Award, Rolling Stone Magazine’s Best Game Soundtrack, and Best Sound from the AIAS, IGDA, and the 2008 TEC award. The critically acclaimed soundtracks are also best sellers.
In July of 2007, Marty became one of the partners in the once again independent Bungie. Among Bungie’s many accolades are the Wired Rave Award and being named to the Time 100 List. In September 2010 Halo Reach was released for which he produced over five hours of music.
Currently Marty is working on Bungie’s newest project Destiny and along with Mike Salvatori is collaborating on composing all new music with Paul McCartney.
Marty O’Donnell lives in Redmond, Washington. He has been happily married for more than 30 years and is the father of two beautiful daughters.
BAFTA award-winning and Billboard/MTV VMA nominated Danish composer Jesper Kyd creates memorable and immersive music for visual media. Spanning from his operatic orchestral scores for the HITMAN series and anthemic Russian choral score for FREEDOM FIGHTERS, to his iconic Middle-Eastern, Renaissance and Greek inspired scores for the ASSASSIN’S CREED series and post-apocalyptic themes of BORDERLANDS, Jesper Kyd is renowned for composing deeply atmospheric and emotional music.
His latest release includes the uplifting orchestral album “LEGACY” recorded with the Budapest Symphony Orchestra, the highly anticipated follow-up to “ULTIMATUM”. Other recent projects include the ‘faded Americana’ acoustic score for Microsoft’s STATE OF DECAY, the fastest selling original game on Xbox Live Arcade, and the surreal fantasy score for the action-adventure DARKSIDERS II, created by comic book writer/artist Joe Madureira, which garnered numerous critic accolades including “Top 10 Best Video Game Scores Ever” from Classical MPR.
Kyd is currently scoring the second season of the European live action sci-fi television series METAL HURLANT CHRONICLES (Sony Pictures TV) adapted from the “HEAVY METAL” graphic novels by legendary artist Jean “Moebius” Giraud, and the innovative online multiplayer World War II game, HEROES & GENERALS (Square Enix).
Jason Graves is an Academy Award-winning (BAFTA) composer who has brought his passion for music to franchises such as TOMB RAIDER (SQUARE ENIX) and DEAD SPACE (EA). He is particularly enthusiastic about illustrating a project’s story and character arcs through the power of music. His sophisticated composition style has made his music synonymous with unique musical textures and cinematic orchestral writing.
Crystal Dynamics entrusted Jason with their innovative reboot of the iconic TOMB RAIDER franchise, giving him creative freedom to infuse atmosphere, emotion and authenticity to Lara’s origins story through his score. The end result combines found sounds, authentic percussion and a truly unique custom instrument interwoven with orchestral themes and textures.
Jason was solely responsible for creating an innovative, unique soundtrack for DEAD SPACE, which has become Electronic Arts’ best-selling original title and called “the scariest game ever made.” Jason’s groundbreaking score has been hailed by critics as a “truly original soundtrack” and “the best score of the year.” It was recognized with a myriad of worldwide nominations and won two BAFTA awards – one for Original Score and one for Use of Audio. For the latter, the Academy stated, “It’s the music soundtrack that boasts horror and tension.”
Jason’s diverse musical background as a classically-trained composer, drummer, keyboardist, guitarist and world percussionist allow him to expertly compose in many different genres of music. As a result, his game credits alone include more than one hundred titles, ranging from electronic and rock to full symphonic scores. He performs world percussion, drums and guitar on many of his own tracks and has conducted and recorded his live orchestral scores at Abbey Road Studios, Air Studios London, Capitol Records, FOX, Paramount Pictures and Skywalker Sound.
Jason also composes for film and television, including the upcoming feature films ADRENALINE and UNKNOWN CALLER. His music has been licensed for television shows such as AMERICAN IDOL and THE AMAZING RACE.
Recently, Jason provided a immersive orchestral score for EA’s highly anticipated DEAD SPACE 3, recorded at Abbey Road Studios and performed by the London Philharmonia. He recorded RESISTANCE: BURNING SKIES at Ocean Way Studios in Nashville and composed a blues-based score for the documentary film THE CARDBOARD BERNINI.
In addition to two BAFTA’s, Jason’s music has been honored with three Academy of Interactive Arts and Sciences Award (AIAS) nominations, winning “Outstanding Achievement in Audio” for DEAD SPACE. He has received twenty one G.A.N.G. nominations and four wins, including “Audio of the Year” for DEAD SPACE and DEAD SPACE 2, “Best Original Theme” nominations for DEAD SPACE 2, STAR TREK: LEGACY and BLAZING ANGELS 2 and “Music of the Year” nominations for DEAD SPACE and KING ARTHUR.
Jason Graves is represented by the Gorfaine/Schwartz Agency.
BAFTA Award Winner and five-time BAFTA Original Music nominee James Hannigan’s many credits include entries in the HARRY POTTER, COMMAND AND CONQUER, THE LORD OF THE RINGS and THEME PARK game series’ – and television such as BBC America’s PRIMEVAL. His recent projects include DEAD SPACE 3, TRANSFORMERS UNIVERSE and newly updated music for hugely popular MMORPG, RUNESCAPE. He is also co-founder of Game Music Connect and Director of Game Art Connect.
James’s earlier credits include Chris Roberts’ FREELANCER, COMMAND AND CONQUER: RED ALERT 3, CLOUDY WITH A CHANCE OF MEATBALLS, THE LORD OF THE RINGS: ARAGORN’S QUEST, EVIL GENIUS (BAFTA Nomination, Original Music, 2004), HARRY POTTER AND THE ORDER OF THE PHOENIX (VG), Nintendo’s ART ACADEMY, THEME PARK INC., SIM THEME PARK/THEME PARK WORLD (BAFTA Award, Audio; BAFTA Nomination, Original Music, 2000), HARRY POTTER AND THE DEATHLY HALLOWS PARTS 1 & 2, BRUTE FORCE, REPUBLIC: THE REVOLUTION (BAFTA Nomination, Original Music, 2003), COMMAND AND CONQUER 4: TIBERIAN TWILIGHT, CONQUEST: FRONTIER WARS, PRIVATEER: THE DARKENING, HARRY POTTER AND THE HALF-BLOOD PRINCE (VG; International Film Music Critics Association [IFMCA] Award; BAFTA Nomination, Original Music, 2009), various EA SPORTS titles, GRAND PRIX 4, SPACE HULK: VENGEANCE OF THE BLOOD ANGELS, Film/TV tie-ins such as CATWOMAN, REIGN OF FIRE and many others.
James has worked with numerous orchestras around the world, including The Philharmonia, the Skywalker Symphony Orchestra, The Chamber Orchestra of London and the Slovak National Symphony Orchestra, recording at locations such as Abbey Road Studios, Skywalker Ranch and Air-Lyndhurst – and with renowned ensembles and soloists such as Tony Hinnigan (Titanic, Braveheart), The Pinewood Singers, Miriam Stockley (Adiemus), Miranda Keys, Tamara Zinadinovic and Soname – to name only a few.
James began his career in the early 1990s composing for television before becoming fascinated by the musical opportunities presented by interactive entertainment, taking on the role of in-house composer at Electronic Arts’ purpose built recording studio, where he stayed for a number of years before returning to freelance work in 1997 at Pinewood Studios in London. His production library music from this period can still regularly be heard in TV shows ranging from The Apprentice, WW2 in HD, America’s Most Wanted, Vietnam in HD, America’s Got Talent, X Factor and numerous TV and cinema ad campaigns, promos and trailers.
Participating as a panelist at events such as Tiga’s ‘Games Meet Film’ at Pinewood Studios, ‘Ear Candy’ at the Barbican Centre, The Edinburgh International Festival, Musicworks, The DEVELOP Conference and The BAFTA Interactive Festival, James also writes articles and has been featured on the cover of Develop Magazine, profiled in Post, Audio Media, Resolution, Tracksounds , “Music, Sound and the Moving Image” (MSMI), Film Score Monthly and other publications – and he is a regular interviewee on BBC Radio. James has also been featured in books such as Tom Hoover’s, “Keeping Score: Interviews With Today’s Top Film, Television and Game Music Composers” and “Songwriter’s Market” and, in recent years, Video Games Live have have toured with some of his music. Other public performances and events include GameCity Nottingham, A Night In Fantasia featuring the Eminence Symphony Orchestra and BAFTA’s “Conversations With Screen Composers” held at the Royal Albert Hall in June 2012.
James Hannigan is represented by the Gorfaine / Schwartz Agency, Ca., USA.
Classically trained from a young age at the Royal Academy of Music in London with an extensive repertoire including jazz and popular music genres, Richard Jacques is a multiple award-winning composer for film, television and video games. Best known for his critically acclaimed orchestral scores for blockbuster franchises such as JAMES BOND 007: BLOOD STONE (Activision), MASS EFFECT (BioWare), LITTLE BIG PLANET 2 (Sony), ALICE IN WONDERLAND (Disney), STARSHIP TROOPERS (Empire/Sony Pictures), HEADHUNTER (Sega), Jacques’ dramatic music can also be heard in numerous premier TV and movie theatre campaigns for some of the world’s largest media agencies including SAATCHI & SAATCHI and MCCANN ERICSSON, and top name brands such as AUDI, BACARDI, MERCEDES-BENZ and STELLA ARTOIS.
Described by Music From The Movies as “One of the most refreshing orchestral scores in many years,” Jacques’ breakout Hollywood orchestral score HEADHUNTER was the first video game soundtrack to record with A-list musicians at the world famous Abbey Road Studios’ Studio One. Returning to the action genre in epic style, Jacques’ multiple award-winning, BAFTA and Ivor Novello nominated original music for JAMES BOND 007: BLOOD STONE took interactive action scoring to the next level as he delivered a high energy score which truly immerses the audience in a thrilling, cinematic Bond experience. Internationally acclaimed by critics as a “Classic modern Bond score,” Jacques’ music includes brand new themes for all of the major characters and settings as well as various ethnic instrumentation for the exotic locations that Bond visits, including Athens, Istanbul and Bangkok. The score was recorded with A-list musicians at Abbey Road Studio 2 and received top honors for “Best Original Composition” from leading music supervisors at The Music and Sound Awards 2012.
Jacques recently opened his new state-of-the-art studio facility in central London and is currently writing original music for new advertising, television, video games and other visual media projects.
He is also a Fellow of Wells Cathedral School, a Media Executive Committee Member of BASCA (British Academy of Songwriters, Composers and Authors) and has been a judge for The Ivors and the Royal Television Society Awards amongst others.
Richard Jacques is represented by The Gorfaine / Schwartz Agency in Burbank, California.
Joris de Man is a freelance composer and sound designer working from his studio on the South Coast near Brighton. Born in the Netherlands into a musical family, Joris has been surrounded by music since his very conception so it’s no wonder his ear is so attuned.
Playing violin at six, Joris’ musical learning included study of sonology at The Hague’s Royal Conservatory and music technology at the Hogeschool voor de Kunsten in Utrecht. He later exchanged violin for synthesizer and computer, searching for a musical identity which led him from hard-edged industrial to ambient electronica and everything in between, though never leaving his classical roots far behind.
He’s been creating sounds and music in games for nearly 15 years but Joris was a renowned chip music creator on the Atari demo scene before his career started at the illustrious Bitmap Brothers in London.
He moved to Amsterdam in 2000 and has been at the core of Guerilla / Sony’s Killzone music since the franchise began. Originally the developer’s Audio Director, looking at music and sound design, his return to the UK in 2005 allowed him to focus on the game’s rousing score, of which the last two, Killzone 2 & 3, were recorded at Abbey Road. In 2010, Joris was awarded the prestigious Ivor Novello Award for Best Video Game Score for his work on Killzone 2, and in 2011 received a Dutch Game Award for best theme music for Killzone 3, in the Best Audio Design & Music category.
As well as work in games, Joris has developed sound design and programming for concert pieces, working with composers such as Louis Andriessen, Peter Eotveos, Alexander Knaifel and Johan de Meij on his much lauded ‘Planet Earth’ symphony. Most recently Joris has extended himself into the world of ballet, working with acclaimed Dutch choreographer Joost Vrouenraets on his contemporary ‘Charlie Goes Home’ based on Superhero lore.
Joris is currently working on a number of projects in the UK, USA, Germany and The Netherlands. He continues to work with Brighton based developer Futurlab creating music for the award winning ‘Velocity’ series and is enjoying supporting a new wave of indie developers including Red Robot in San Francisco and Short Round, also in Brighton. Expect to hear Joris’ music in an exciting project directed by famed Welsh animator Mike Mort and another collaboration with Joost Vrouenraets is also scheduled for 2014.
With a style that has been described as epic, powerful, sweeping and grandiose in orchestral-based pieces, writing for live orchestra is Joris’ favourite way to realise his musical ambitions. Equally versed in creating powerful and bombastic midi renditions his versatility for composing extends to styles suiting action, drama, comedy, fantasy and romance.
An award winning Composer and Audio Director, Paul’s career has taken him all over the world, and has helped him innovate and advocate as a leading figure in the interactive entertainment industry. As a part of the team at Microsoft Studios, he works as Music/Audio Director – driving quality for internal and published tiles across platforms, most recently the newly-announced Xbox One. Paul also works as the Halo Publishing Audio Director, overseeing audio pipelines for published titles in the Halo Universe.
Paul previously worked as the Chief Operating Officer of Pyramind Studios – San Francisco’s leading game audio pipeline solution. He has composed award-winning scores and managed extensive AAA audio pipelines for an array of leading clients like Microsoft Game Studios, SEGA, 343 Industries, Ubisoft, LucasArts, 2K Games, Sony Computer Entertainment, EA, Hewlitt-Packard, Harmonix, etc.. Recent AAA game credits include Halo Combat Evolved Anniversary, Kinect Disneyland Adventures, Galactic Reign, Microsoft Flight, Infamous 2, Halo:Waypoint, 5th Cell’s Hybrid, Rocksmith, Bioshock 2, Iron Man 2, Lego Indiana Jones:The Adventure Continues, and many more. Paul and his team have been nominated for numerous awards, and recently won the Best Interactive Score and Best Use of Licensed Music awards at the 2012 GANG Awards, and the Best Audio – Other Award at the 2011 GANG awards/GDC for work on the Halo Universe. Paul was also awarded the G.A.N.G. Distinguished Service Award at the 2006 GANG Awards/GDC for his wide-ranging work in interactive audio.
Paul is extremely passionate about audio and the advancement of the video game industry, and served as the President of the Game Audio Network Guild – the world’s largest organization of game audio professionals – for a six year term. He is now Vice Chairman of the Board of Directors of G.A.N.G, and has worked closely with the Officers to originate the industry-first Program Partnership Initiative, and was the mastermind behind the Guild Scholarship Award for Game Audio and the Guild’s worldwide advisor and director network. He was also a founding member of G.A.N.G’s Pro Branches, including the Interactive Entertainment Sound Developers (IESD) and the G.A.N.G Voice Actor Coalition (GVAC).
Paul is an active speaker and presenter, and has conducted panels, lectures, and master classes at the Massachusetts Institute of Technology, Yale University, Berklee College of Music, Musician’s Institute, Georgia Tech, SIGGRAPH, GDC, GameSoundCon, Pyramind Studios, AES Conference, New England Conservatory, Art Institute San Francisco, GRAMMY Soundtables, The Connecticut Film Festival, and at the Conservatory of Pernambuco in Brazil.
Paul has also studied music for twenty-five years, with a focus on jazz studies and classical/orchestral music. He has lead his ensembles at venues across the United States, Southeast Asia, Europe, and Brazil, and has performed and recorded with world-renowned jazz musicians including Clark Terry, George Russell, Eric Marienthal, Bob Moses, Jimmy Giuffre, Gene Bertoncini, Mick Goodrick, John Abercrombie, Tim Miller, Bevan Manson, John McNeil, and Rick DiMuzio.
Paul holds a BM and MM with summa/highest distinction from the world-renowned New England Conservatory of Music in Boston. He is a member of the International Game Developers Association, The Academy of Interactive Arts and Sciences, BMI, The Recording Academy Producers and Engineers Wing Advisory Council, and the Game Audio Network Guild.
Stephen Lord has been working in the games industry as a sound designer, musician and Audio Director for over 20 years. His longest stint began in the 90’s where he spent eight years as Head of Audio at Rage Software producing audio for dozens of multi-platform titles developed at Rage’s many studios spread across the UK. Following this Steve spent time at EA and other studios before taking a break from the industry to pursue other business interests.
Returning to the industry in 2009 Steve headed up the audio team at Realtime Worlds and was responsible for APB (All Points Bulletin) which featured many innovative audio features such as a comprehensive in built music sequencer as well as hundreds of licensed tracks. This was all complimented with a unique track matching system in partnership with Last.fm.
After Realtime Worlds, Steve returned to EA as Audio Director for their final Harry Potter game. This role included working closely with the film cast as well as composer James Hannigan, where the soundtrack was recorded at Abbey Road with the Philharmonia.
Steve is now Head of Audio at Jagex where his remit is to bring a new audio vision to their flagship MMORPG title Runescape. This has resulted in a huge technical leap forward with the recent launch of Runescape 3 where the new soundtrack is one of the key features. The new score has over eight hours of new music, featuring full orchestral recordings as well as dozens of other live performers. In-house advances in browser based audio technology have been his main focus which has culminated in dedicated music streaming servers for Runescape.
Aside from Runescape and other PC and tablet based games, his current priority is working on the highly anticipated Transformers Universe MMO.
Music Production Manager – Sony Computer Entertainment Europe
Alastair has been working in the video games industry since 1993, when he started as a composer and sound designer for Imagitec Games Inc. His first game release was Tempest 2000 on the Atari Jaguar, which won the best game music award at the 1994 CES. It was also one of the first video game soundtracks to be commercially released on CD. After joining Sony Computer Entertainment Europe in 1996, Alastair worked on high profile titles such as The Getaway, Singstar, and the Eye Toy franchise games. He now heads up the Music Production department, where he looks after composed music for internal, and many external SCEE titles. This includes the sourcing of composers, liaising with the game teams on a creative and budget level, managing composer’s schedules, assets and game implementation.
Alastair Lindsay on Soundcloud: https://soundcloud.com/
BAFTA Award winning Audio Director Adele Cutting trained at the National Film and Television School (NFTS) and worked in film post production before moving into the games industry in the mid-nineties, taking on an in-house role at Electronic Arts. After working on several of the company’s key titles and franchises, she worked her way up to the position of Senior Audio Director in 2006 and, in 2011, after fifteen years at the company, Adele decided to form her own Audio Production company, SoundCuts.
SoundCuts’ many clients have included Microsoft, Gamesys and Pottermore and as well as ongoing work in film, the company is currently engaged in projects across many key gaming platforms – ranging from mobile, iOS and Playstation 4 titles through to interactive books and media.
Game Music Connect co-founder John Broomhall is a multi-faceted independent music and audio creative with many years’ experience in both the music and videogames industries, a number of senior in-house and outsourced management roles under his belt and dozens of published titles to his credit. He is a composer/producer, audio director/consultant, sound effects designer and voice director as well as a highly accomplished live and studio session keyboard player, producer and songwriter (published by Allied Songwriters/Notting Hill Music).
His prolific career, which also includes working as a game development manager, encompasses contributions to global hits such as the original X-COM series (composer); Chris Sawyer’s Transport Tycoon series (composer); Geoff Crammond’s Grand Prix series; MechWarrior 3; B17 Flying Fortress 1 & 2; Superman, American Idol/Pop Idol, Football Manager, Wallace & Gromit (DVD game), New International Track & Field, Heavenly Sword, Guitar Hero DLC, and Forza 4 (Jeremy Clarkson speech recording). He is currently scoring music for orchestral ensemble and choir recording stateside as co-composer on a forthcoming key nex-gen AAA title TBA.
Broomhall has chaired many BAFTA Audio Awards and until recently sat on the BAFTA Videogames Committee for the maximum allowable years as well as regularly speaking/lecturing about game audio at seminars, conferences and universities. He organises/chairs the annual Develop Conference Audio Track, writes a monthly column for well-known industry magazine, Develop, is a contributor to pro-audio publications Audio Media and Audio Technology and sits on the Editorial Board of academic journal The New Soundtrack.
Broomhall has served on Skillset’s Game Forum and advised on the National Occupational Standards for both Interactive Media and Sound. In 2009 he was honoured with a Recognition Award by the Game Audio Network Guild of America. In 2011, he was invited to give the keynote address at the Audio Engineering Society’s conference in London and in 2013 took part in two conference sessions at AES49 – Audio For Games. He was also a judge on the Music and Sound Awards for videogames.
Broomhall Projects currently provides music/audio content, production management and consultancy for a wide range of developers, publishers and other consulting companies.
Stephen Deutsch has composed over thirty scores for film, theatre, radio and television. His many collaborations with the playwright Peter Barnes include Jubilee (2001), the Olivier Award-winning play Red Noses (1985) and the feature film Hard Times (1994). He has significant expertise in the fields of electronic music, 20th Century music techniques, the composer in the marketplace, and issues relating to film, television, broadcasting and related subjects.
Stephen Deutsch has had his concert music performed by eminent artists, including the Medici Quartet, David Campbell, The Gaudier Ensemble, Andrew Ball, The London Mozart Players and many others.
Prof. Deutsch was educated initially in the United States (initial training – Juilliard Preparatory Division; BMus – SMU; MA – San Francisco State College). After settling in Britain he attended the Royal College of Music where he was engaged in electro-acoustic composition under the direction of Tristram Cary. In 1971 he and two partners established Synthesizer Music Services, Ltd., an electro-acoustic studio inLondon.
At Bournemouth University, he is Professor of Post-Production. In 1992 he founded the University’s PGDip/M.A. in Electro-Acoustic Music for Film and Television. This course, the first of its kind in Europe, was designed to equip post graduate professional composers with the skills necessary to engage in writing music for film, television, radio, and other multi-media packages. He was also Senior Tutor in Screen Composition at the National Film and Television School.
Within both institutions he has trained over 60 composers, some of whom have since provided music for feature films, theatre, television and computer games.