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Marty O'Donnell

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Marty O’Donnell on Echoes of the First Dreamer. This month we spoke to Marty O'Donnell, the widely celebrated composer for Halo and Destiny and 2016 G.A.N.G. Lifetime Achievement Award recipient. We discussed his new release Echoes of the First Dreamer and the process of composing for VR. Echoes of the First Dreamer is now available here. There will also be a limited edition vinyl to be released 9/29.

RS: What made you decide to do a prequel album? MO: I originally composed and produced a musical prequel album to Destiny called Music of the Spheres. Due to circumstances beyond my control that album was never released, although the majority of the music was used in the game Destiny and quite a lot of it was on the OST. RS: What was the process like putting together music for the album? MO: At the beginning we had little understanding of what the game would eventually be, but we knew the general story and atmosphere.

RS: Was all the music for the game finished before you started work on the prequel album? MO: Just the opposite. Music Respawn! Marty O'Donnell: 'Echoes Of The First Dreamer' Started With A Lullaby | WSHU. How do you write music for a game that doesn't exist? That was the challenge Marty O'Donnell took on by writing a musical prequel to Highwire Games' Golem. After a successful Kickstarter campaign, Marty drew on his expertise writing music for Halo and Destiny to create a completely new world in Echoes of the First Dreamer. Kate's conversation with Marty Golem is being developed for Play Station VR, and although there's a steep learning curve to implement music and sound design, Marty says it's fun to be on the bleeding edge of new technology.

Echoes of the First Dreamer is available from Sumthing, Amazon and iTunes. Episode Tracklist Marty O'Donnell: Echoes of the First Dreamer: Kindled Echoes; Standing Alone; Seek and Hide; Dreamer's Lullaby (orch); Vision of a Lasting Flame (piano)/Vision of a Lasting Flame (orch); Silent Tide; Lament in the Endless City All tracks performed by Marty O'Donnell, piano and members of the Northwest Sinfonia. Marty O'Donnell Beep interview. Ex-Bungie composer Marty O'Donnell wins epic legal fight with former bosses | GamesBeat | Games | by Dean Takahashi. Marty O’Donnell, the composer who created the music for the Halo and Destiny video games, has won his case in a legal battle with his former employer Bungie. Under a final ruling issued today from a court-appointed arbitrator, Bungie must honor its agreements with O’Donnell that gave him the right to hold a considerable share of stock in the company.

And the filing contains for the first time a description of the ordeal that O’Donnell went through as he quarreled with Bungie over issues of creative freedom and stock ownership in the company that he cofounded. The court papers reveal a rare, unseen story of the making of Destiny, and the internal struggles that happened between Activision, the publisher, and Bungie, the developer of the game that is now played by millions.

The arbitrator found that Bellevue, Wash. From VentureBeat Gaming is in its golden age, and big and small players alike are maneuvering like kings and queens in A Game of Thrones. How the dispute started. E3 2015: Halo Composer Marty O’Donnell Teases Details About His New Studio and Game. Old dogs, new tricks. By Jenna PitcherVeteran game composer of Martin O’Donnell and his newly founded studio Highwire Games want to create unique emotional experiences for players. “We hope that you feel like you care about who you are in the game,” O’Donnell told IGN in an interview during E3 2015.

“You care about the characters in the game in a really intimate way, as much as you care about any really powerful story that you’ve ever read or played or played a game. “At the end of playing this game or while you were playing this game, you’re actually going to care about the characters that we’re presenting. "We want to make sure that we can do that. The studio's formation comes just over a year after O’Donnell's termination by Bungie where had worked since the late '90s. “We found ourselves in a similar situation as of last summer basically just kind of up in Seattle, wondering what we wanted to do next and thus the old dogs, new tricks," Halo and Destiny's composer said.

Q&A: Making music with former Bungie composer Marty O'Donnell. Composer Marty O'Donnell is perhaps best known in our industry for his work on the iconic score of Bungie's Halo series, though he's been working with the company since helping to produce the music for Myth: The Fallen Lords back in 1997. Before that he worked on commercial jingles for products like Mr. Clean cleansers and Flintstones Vitamins, and in the wake of his departure from Bungie earlier this year he's now sorting out what the third act of his career will look like. I spoke with O'Donnell via phone recently in an effort to learn more about how he works, and to unpack some of the audio production experience locked up inside his brain after so many years in the industry.

The nuts and bolts of producing audio for games is often given short shrift in industry circles, and I hope our interview with O'Donnell can help shed some light on how the sound design teams at AAA studios like Bungie work. You spent years working as a composer and audio director for Bungie. Work-for-hire hits the wrong notes | On October 7, Marty O'Donnell will keynote the GameSoundCon game music and sound design conference. Speaking with earlier this week, O'Donnell said he wanted his address to serve "somewhat as a warning" to gaming audio professionals, a touching off point for a discussion about the potential problems surrounding work-for-hire, collaboration, copyright, and other issues.

That discussion, like so many discussions about audio, begins with The Beatles. "I got a chance to work with Paul McCartney over the past couple of years, and that was for me personally a super highlight of my career," O'Donnell said. "He's a really nice guy, amazingly talented, fun to work with, easy to work with. At one point when I was talking to him, we were talking about some specific thing and he made this comment: "Well I don't want to do that.

That would be a little too 'work-for-hire.'" The phrase stood out for O'Donnell for a couple reasons. "I've always been work-for-hire," O'Donnell said. Music Of The Spheres: The Collaborative Soundscape Of Destiny - Features. Audio director and lead composer Marty O'Donnell is leaving the music of Halo behind and building a whole new aural world. Luckily, he has some company.

Collaborating with the now in-house audio design lead and fellow composer Mike Salvatori and new partner, Paul McCartney, the three have created a soundtrack for Destiny that spans our entire solar system. In addition to the game's ambitious soundtrack, the trio are releasing a full musical prequel project with a track dedicated to each of the planets called Music of the Spheres. While visiting Bungie for our January cover story, we spoke with O'Donnell and Salvatori about the process of crafting the new game's soundtrack. Watch the video feature below to hear O'Donnell show off Destiny's soundtrack and explain the process of working with Salvatori and McCartney.

Click on the banner below to visit our hub for exclusive content on Bungie's Destiny that will be rolling out throughout the month. Bungie composer Marty O'Donnell on the music of Destiny, collaborating with Paul McCartney. Expect something a little different from the musical score to Bungie's next video game, Destiny. Penned by longtime Bungie composer Marty O'Donnell and partner Mike Salvatori, Destiny's soundtrack has been shaped by two factors: a collaboration with Paul McCartney and the fact that O'Donnell was asked to score a game that did not yet exist. O'Donnell says that Bungie COO Pete Parsons came to him early in Destiny's development and asked him to start writing.

"I need more meat," O'Donnell said, hoping for something — a trailer, a documentary — to write music against. But Destiny was a project in its infancy, lacking in gameplay moments that could serve as inspiration. So, O'Donnell said he began writing based solely on Destiny's ideas, stories and artwork. The result was nearly an hour of music written to foster inspiration within the development team. Destiny's early score was recorded at Abbey Road Studios. "He didn't only want to do Paul McCartney music. Sound Byte: Meet the Composer - Martin O'Donnell. Behind the Games: Meet the Composers - Martin O'Donnell. By: , GameSpot - Posted on September 18, 2009 Everyone is bound to recognize at least one melody from a popular video game, but how often do people know the creative maestro responsible for it?

Behind the Games: Meet the Composers highlights some of the most talented minds in this specialized segment of the video game industry. Here's your chance to find out how they got started, what their musical backgrounds are, and what drives them to do what they do every day. Whether you're a video game music fan or an aspiring musician, Meet the Composers digs deep to uncover what it's like to be in the shoes of a virtuoso. Profile: Martin O'Donnell Currently Listening to: Talk radio Currently Working on: Casting voice actors for Halo: Reach Biggest Musical Influences: My mom First Instrument Played: Piano Biography: Martin "Marty" O'Donnell began his musical career by taking piano lessons from his mother, who played a lot of classical music during his childhood.

Discography: Filed under: Oni Halo 2. The Sound and Music of HALO: REACH. Synopsis Halo: Reach takes place in late 2552, during the Covenant invasionof the Human colony world Reach, which also serves as the main military center of the UNSC. The game follows Noble Team, a six-man special operations unit of one SPARTAN-II and five SPARTAN-III commandos. The player assumes the role of the team's newest member, SPARTAN-B312 or "Noble Six" and will be defending Reach from its ultimate downfall at the hands of the Covenant. Over the course of the campaign, the players will visit various locales on and above planet Reach, including remote civilian homesteads, high-tech ONI facilities such as Sword Base, the metropolitan city of New Alexandria, as well as a segment of space combat in a Sabre fighter.

The player will also encounter interactive indigenous creatures such as the Moa and the Gueta. Comments. Martin O'Donnell - Behind the Games: Meet the Composers. Scoring Halo: Reach With Martin O'Donnell - High-Definition. Top Score Launches Season 2 with Halo Composer Martin O'Donnell. September 6, 2011 Copy and paste the HTML below to embed this audio onto your web page. Audio player code: St. Paul, Minn. — In November, the Halo franchise celebrates its 10-year anniversary. Developed by Bungie, Inc. and published by Microsoft, the first-person shooter (FPS) was overwhelmingly an instant success. Prior to the release of Halo: Combat Evolved in 2001, FPSs were marginally successful on gaming consoles like PlayStation, but die-hard FPS players mostly played on PCs. Halo combined science fiction along side ancient alien religion.

Of the six Halo games currently available, Martin O'Donnell wrote music for five of them, including the first. Halo: CE changed the way we play video games on consoles, and O'Donnell changed the way composers write music for games. O'Donnell was established in the music industry through his film scores and commercial jingles. (To listen to Part 2 of this episode's audio, click on the link in the column on the righthand side.) Playlist: Part 1. Martin O'Donnell Interview - The Halo 3 Soundtrack. Marty O'Donnel: Interview (The Man Behind The Music) Part.1.

Marty O'Donnel: Interview (The Man Behind The Music) Part.2.