1/10/2024 0 Comments Wipeout hd fury ostIn some cases, though, the PlayStation would be unable to hit those levels of quality-and in extreme cases, where the CD drive was spooling data, we had to resort to mod tracker type music, but that wasn't very often. The music for original PlayStation games could largely be full-quality CD audio-the Amiga, obviously, couldn't do that. What advantages did working on the PlayStation provide you, over your previous Amiga work? I'd say by the time I was halfway through composing the music, and I was getting such great responses from the rest of the development team, I began to feel we'd created something rather special. And this became even more evident when I saw the advertising that was created for the game, pushing the whole club culture side of things. But a few months into the project, I began to realize that it was beginning to really ooze coolness, with this really simple but rewarding gameplay, and the aesthetic input from The Designers Republic really gave it a look and feel that was quite different to anything else out there. Did you feel, working on that project, that it was building into something special, and perhaps something rather timeless?Īt the time, when we started, it was essentially "just another game". As I remember it, at least, it really "made" the PlayStation in the UK. I've since made remixes of some of them, and they're far closer to what I was thinking I'd have liked them to sound like, back in the day. But I think there's maybe one or two songs in there that I'm happy with-the others, though, were so rushed. So yeah, it was a challenge in that sense. It really had to be melody driven, with very little production value. To add to that, I was forced to use a music sequencer that I'd not used before, and was told I couldn't use any "fancy commands in the sequencer". I had to reuse samples between songs, and only had three channels. I had very little time, and virtually no memory to work with. But as a result, a lot of people fell in love with that track. I took a bit of a risk creating that, as nobody was expecting something so "non-electronic" sounding for a game. I've also got to mention the piano-based title music for Agony, which came out the next year. It's got a lot of acoustic samples, and is very mellow. That was a really great affirmation, but it's a shame it never saw the light of day.Īside from that, I've a soft spot for the soundtrack to 1991's Leander. My co-worker, Mike Clarke, had heard me working on its soundtrack, and he could be very critical, but even he said that I'd created something very impressive. I think they got so far behind that Psygnosis pulled the plug on it. Sadly, the company developing it didn't complete the project. I'd reached the pinnacle of my Amiga mod skills by that point, and I poured a lot of hours into creating the music for that game. I'd say the one is probably 1994's Magician's Castle. Never ask a parent to name their favorite child, but of all the Amiga projects you worked on-which covered a range of platform classics like Lemmings, Shadow of the Beast 2 and Bullfrog's Powermonger-which do you consider to be the standout project? Right place, right time, with the right creative material I guess! So that was how I managed to get so many music-based gigs for a raft of Psygnosis Amiga games. Most people thought it was a fun demo, but not full game material-all aside from Psygnosis, who ironically were based in Liverpool, our hometown!Īt the time we got signed up to create the game, the then-director Ian Hetherington took me to one side and said that in addition to the game, he loved my music and would certainly have more work for me going forward. So, armed with the demo, we went to a London computer fair, and made appointments with all the big players at the time. We wanted this demo to act as an incentive for a software house to take it on as a full game project. Together we created a few demos, among which our most well know was Puggs in Space. Tim Wright: I got into the Commodore Amiga demo scene in the late 1980s with a couple of guys who had formed their own demo group, called Dionysus. How did you find yourself stepping through the company's doors and ultimately producing soundtracks for so many Amiga games? You were with the Liverpool-based studio Psygnosis for a long time before they produced WipEout.
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