For those unfamiliar, I'm Andrew Hulshult, a composer and sound designer primarily for video games, though I'm branching into film. I also enjoy composing personal music outside of commissioned work. My work spans sound design, soundtracks, and occasionally, voice acting.
My involvement with the canceled Duke Nukem 3D Reloaded (around 2010) began unexpectedly. Frederik Schreiber, of 3D Realms, was remaking Duke 3D maps in Unreal Engine 3. His work, particularly the 3D renders, caught my eye. I contacted him, offering my music composition skills, and he agreed. The project itself didn't progress significantly, but it led to an unexpected opportunity.
Apogee's Terry Nagy, having seen my work, approached us about composing for Rise of the Triad, with investor Dave Oshry on board. This marked a pivotal moment, as we were unknowingly at the forefront of the retro FPS revival. Rise of the Triad 2013 followed, and my journey in the industry took off from there.
My career trajectory since then has been a steep learning curve. Initially, navigating industry standards and fair compensation was challenging. I learned from each experience, both successes and setbacks, ultimately prioritizing both artistic integrity and financial stability to sustain my career. After initially considering leaving the games industry, I discovered how much demand there was for my work, leading to projects like DUSK and Amid Evil.
A common misconception about video game music is that it's easy and unimportant. In reality, it's incredibly challenging. It requires a deep understanding of the game's atmosphere and design philosophy, demanding both artistic skill and the confidence to communicate your vision effectively. It's not just about creating beautiful music; it's about integrating it seamlessly into the game experience while ensuring fair compensation for your work.
Composing for Rise of the Triad 2013 was my first major professional gig. Respecting the legacy of Lee Jackson and Bobby Prince, the genre's pioneers, was paramount. I aimed to retain the spirit of the original while adding my personal rock and metal influences. The initial feedback from Terry Nagy ("a diarrhea of sound") pushed me to refine my mixing techniques. The process was collaborative, balancing my creative vision with the game's aesthetic.
Bombshell and Nightmare Reaper represent a shift towards more metal-influenced, almost album-like soundtracks. While I initially worried about being typecast, I've since embraced diverse styles, incorporating orchestral elements and synth sounds to create unique soundscapes for each project. The fear of typecasting remains, but the ability to experiment and explore different sounds has grown with my experience.
The Amid Evil DLC soundtrack holds a special place, as it was created during a family emergency. The intense emotions of that period profoundly influenced the music's energy and tension. The track "Splitting Time," in particular, resonates with a blend of energy and intensity, drawing comparisons to Mick Gordon's work, though not directly influenced by it.
Nightmare Reaper was a collaborative effort, with developer Bruno explicitly requesting a "metal record" from me. Balancing the metal influences with the game's dynamic needs required careful consideration of pacing and energy levels throughout the soundtrack. The same principle applied to Prodeus, where I crafted three distinct layers of music (ambient, light combat, heavy combat) to seamlessly transition between gameplay moments. "Cables and Chaos" stands out as a personal favorite, born from the intense energy of the pandemic lockdown.
My work on Prodeus's "Spent Fuel" involved a unique approach. I incorporated real-world sounds of Geiger counters, nuclear reactor pulses, and reversed atomic bomb flash sounds into the track’s composition. This project showcased my ability to create a concept-driven soundtrack based on real-world phenomena.
Composing for Iron Lung (Markiplier's film) presented a different challenge compared to game soundtracks. Collaborating with Markiplier involved a back-and-forth process of adjusting the music to match the film's intended emotional impact. The larger budget allowed for a greater volume of music, with on-set composition and a broader range of emotional tones.
Dusk 82 marked my first foray into chiptune music. The constraints of limited technology, with only sine, square, and triangle waveforms available, presented a unique creative challenge. While I enjoy the result, a full chiptune demake of Amid Evil would be an interesting project given the complexity of the original soundtrack.
Remastering older soundtracks is a time-consuming process, as demonstrated by my work on IDKFA. While I'm open to remastering Rise of the Triad 2013, it requires significant time investment and collaboration with Apogee. WRATH: Aeon of Ruin presented a unique set of challenges, requiring a balancing act between my creative vision and the game's development issues. The final product reflects a compromise that I'm still happy with.
Working on DOOM Eternal's DLC was a dream come true. My IDKFA project had already gained traction within id Software, leading to their approach for the DLC. The collaborative nature of the project, with David Levy and Chad Mossholder, was instrumental in creating the final product. "Blood Swamps," a fan favorite, resulted from a "go wild" directive, blending familiar Doom elements with a fresh, more traditional metal approach.
The lack of official release for DOOM Eternal's DLC music is a matter of ownership rights; Bethesda and id Software hold the rights, and I respect their decisions. Revisiting and remastering the IDKFA soundtrack involved subtle improvements in mixing and mastering, preserving the original while enhancing its overall quality. The DOOM II soundtrack, on the other hand, represents my current artistic style, offering a fresh perspective compared to the original IDKFA.
My current guitar setup includes Caparison Dellinger 7 and Brocken 8 string guitars, equipped with Seymour Duncan pickups. I primarily use Neural DSP plugins for guitar processing, occasionally incorporating pedals like the Moogerfooger and ZVEX Fuzz Factory. My amp setup involves a Neural DSP Quad Cortex, Seymour Duncan power stages, and Engel 2×12 cabinets.
Continuous learning is crucial for my creative growth. I regularly challenge myself by experimenting with different instruments and techniques, pushing my boundaries to avoid stagnation. My daily routine involves prioritizing sleep, planning my day, and incorporating short bursts of cardio to enhance focus. While I enjoy games like Cities Skylines and Hunt: Showdown, my primary focus remains on music composition.
My musical influences are diverse, ranging from Gojira and Metallica to Jesper Kyd’s unique video game scores. If given unlimited resources, I'd love to compose for a well-executed Duke Nukem game or Minecraft, showcasing both my aggressive and chill styles. For film, I'd choose a project like Man on Fire or American Gangster, given their complex emotional depth. Finally, I cherish my collection of music memorabilia, including a rare Pantera vinyl and tour plaque.
My coffee preference? Cold brew, black.
