Hulshult's 2024 Interview: Games, Music & More

For those unfamiliar, I'm Andrew Hulshult, a composer and sound designer primarily known for my work in video games, though I'm branching into film. I also enjoy composing personal music outside of commissioned projects. My work encompasses sound design, soundtracks, and occasionally, voice acting.

My involvement with the canceled Duke Nukem 3D: Reloaded and Rise of the Triad: Ludicrous Edition began around 2010. Frederik Schreiber, of 3D Realms, was remaking Duke Nukem 3D maps in Unreal Engine 3. His work caught my eye, and I contacted him, offering my musical services. This led to remaking some original tracks, which eventually caught the attention of Apogee and Terry Nagy, who offered me the opportunity to work on Rise of the Triad: Ludicrous Edition, a project also involving Dave Oshry.

Since those early projects, my career has evolved significantly. Initially, navigating the industry was a learning curve, involving challenges with contracts and understanding fair compensation. I learned to balance artistic goals with the business realities of the industry, preventing burnout and ensuring sustainable work. After a period of disillusionment, I unexpectedly discovered a high demand for my services, leading to opportunities on major titles like the DOOM Eternal DLC, Nightmare Reaper, and Dusk. The transition has involved continuous learning, adapting to different projects, and developing my own unique style while respecting the source material.

A common misconception is that video game music is easy or unimportant. In reality, it's incredibly challenging, requiring not only musical skill but also the ability to understand and complement the game's world and design philosophy. It demands creative confidence to propose ideas and navigate potential disagreements. It’s a complex blend of art and collaboration.

My work on Rise of the Triad: Ludicrous Edition involved a conscious effort to respect Lee Jackson's legacy while adding my own flair. The decision to incorporate rock and metal elements stemmed from both my personal tastes and a feeling that it suited the game's ridiculous nature. The process was a collaborative one, with feedback from Terry Nagy shaping the final product. The soundtrack's development involved late nights fueled by whiskey and coffee, with Terry regularly taking me out for drinks before sending me home to write more.

Bombshell and Nightmare Reaper represent a point where my metal influences became more prominent, almost creating standalone metal albums within the game context. While I initially worried about typecasting, I've since embraced diverse styles, incorporating elements of synthwave, orchestral arrangements, and sound design into my work.

The Amid Evil DLC soundtrack holds a particularly personal significance, as it was created during a family emergency. The intense emotions of that period heavily influenced the music's tone and energy. The track "Splitting Time," in particular, drew comparisons to Mick Gordon's work, although it wasn't directly inspired by Killer Instinct. The Nightmare Reaper soundtrack, described as a "metal record," resulted from a direct request from the developer, Bruno, to showcase my metal style within the game's context.

The Prodeus soundtrack, created partly before and partly during the pandemic, showcases a shift in intensity. "Cables and Chaos" stands out as a favorite, while "Spent Fuel" exemplifies my approach to creating a concept-driven piece based on real-world elements like Geiger counters and atomic bomb sounds. The upcoming Prodeus DLC's soundtrack is currently under discussion with the developers.

Composing for the Iron Lung film soundtrack presented a unique set of challenges compared to game soundtracks. Collaborating with Markiplier involved different creative conversations, focusing on conveying specific emotions for each scene. The larger budget allowed for a greater volume of music and a more experimental approach. The process involved on-set composition, creating a diverse palette of musical moods for Mark to choose from.

Dusk 82 marked my first foray into chiptune music. The process involved working within the limitations of the technology, creating drum kits and sounds using basic waveforms. If given unlimited time and resources, I'd consider a chiptune demake of the Amid Evil soundtrack due to its complexity and potential for interesting reinterpretations. Remastering older soundtracks, such as Rise of the Triad: Ludicrous Edition, is a possibility, but requires significant time and resources.

The WRATH: Aeon of Ruin soundtrack involved navigating creative differences with the developer, ultimately resulting in a cohesive product. The DOOM Eternal DLC soundtrack, a collaboration with David Levy, stemmed from my IDKFA project, which gained popularity within id Software. The project involved a fast turnaround, but the collaborative relationship with David and Chad Mossholder made it possible. "Blood Swamps," a fan favorite, reflects a conscious decision to create a bold and distinctive track within the established DOOM soundscape.

Remastering the IDKFA soundtrack for the DOOM and DOOM II remasters involved subtle improvements, focusing on dynamic range and minor instrumentation changes. The creation of a new DOOM II soundtrack offered a chance to showcase my current musical style, creating a contrast with the preserved IDKFA material. The project was a deeply rewarding experience, culminating in a live announcement at QuakeCon.

My current guitar setup includes Caparison 7 and 8-string guitars with custom Seymour Duncan pickups, along with a Schecter C6, the original guitar used for IDKFA and Rise of the Triad. My amplification uses a Neural DSP Quad Cortex, Seymour Duncan power stages, and Engel 2×12 cabinets. Pedals include the Moogerfooger, Fulltone Catalyst, and ZVEX Fuzz Factory. My daily routine prioritizes sufficient sleep, a structured workflow aided by a whiteboard, and regular cardio for enhanced focus.

My favorite bands include Gojira and Metallica, while my favorite video game composer is Jesper Kyd. Given unlimited resources, I'd compose for a revitalized Duke Nukem game or Minecraft, showcasing both extremes of my style. For film, I'd choose either Man on Fire or American Gangster due to the emotional complexity of both films. I appreciate the evolution of bands like Metallica and Slayer, recognizing that while they may not produce revolutionary albums as frequently, their continued creativity remains impactful. Finally, my most treasured music memorabilia includes a rare Great Southern Trendkill vinyl and a commemorative plaque from Pantera's Japanese tour.

My preferred coffee is cold brew, black.