Aubrey Hodges

Обри Ходжес (родился 3 ноября 1966 г.) - американский композитор, музыкант, мультиинструменталист, музыкант из видеоигр композитор . Он начал свою профессиональную карьеру в сфере аудио в 1985 году и сочинял музыку и звуковые эффекты для индустрии видеоигр с 1991 года. Он работал над сериалами, включая Kings Quest , Space Quest , Quest for Glory , PlayStation версии Doom и Nintendo 64 версии Quake и Quake II. Ходжес играет на множестве инструментов, от струнных до духовых и ударных, и работает в разных стилях. Он также создает и записывает независимые альбомы под своим именем. Обри Ходжес внес свой вклад в создание более 200 игр.

Aubrey Hodges began his work in the video game industry at Sierra On-Line in 1991. After Sierra On-Line, Hodges worked at Midway. Then, as the audio director of EA Tiburon from 2003-2008. On November 4th, 2008, Hodges became the audio director at 38 studios. He is also one of the few video game musicians to release his soundtracks. Aubrey said this about developing the soundtrack of Doom: ''The main theme was written using Voyetra SP Gold sequencing software triggering a Kurzweil KS2000. I played the guitar tracks on top of the sequence using a Tascam DA88. Which in my opinion was one of the most flaky devices ever built. But, at least it worked long enough to track the guitar...hehe. The digital version of the theme was then cut into small slices and triggered as regions on the N64 at very small sampling rates. 11k I think. Which made the theme sound pretty low fi. But...it seemed to work pretty well for a game that was so dark. The level music was a different thing entirely. On both the PSX and N64 I wrote directly on the hardware using tools by Sony and Nintendo. They allowed me to create tiny little sample banks of instruments/weird sounds and then trigger them with my sequencer. The programs even allowed me to assign fx to the tracks as well as envelope curves and so on. I sampled every weird thing I could get my hands on including a bee trapped in a coffee can, a laptop with a broken fan and an noisy candy machine in our break room. The samples were bizarre...perfect for the type of compositions I knew would fit the game. The result is what you hear when you play any of those games''. (vgmpf.com)

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