Entertainmment news
When I first wrote about boomer shooters last year on Steam Deck and also on Switch, aside from New Blood and Nightdive, the most common name was Andrew Hulshult who has done some amazing music over the years. He recently was involved with the DOOM + DOOM II re-release that included his IDKFA soundtrack with new music for DOOM II, and having wanted to interview him for a while now, I finally had a chance to chat with him on call for a few hours to discuss game soundtracks, composition, bands he likes, guitar strings, pickups, cold brew coffee, his first film soundtrack, games he’s playing, and a lot more. This interview was done on video call and then it was transcribed and edited for brevity. Just like my interview with Dave Oshry from New Blood, this one was more casual than usual, and this is likely the longest interview on TouchArcade so strap in and grab a cold brew.
TouchArcade (TA): So for those unaware, tell us a little bit about yourself and what you do.
Andrew Hulshult (AH): Yeah, my name’s Andrew Hulshult. I’m a composer and sound designer for mainly video games, but I’m starting to move over into film as well. I like to just write music by myself sometimes when it’s not for a game or film. But that’s primarily what I do. I work in the game and film industry doing sound design, soundtracks, and sometimes voice acting.
TA: How did you end up working on the canceled Duke Nukem project and also Rise of the Triad 2013?
AH: Duke Nukem 3D Reloaded was actually just kind of like, I think that was 2010. That’s, I’m reaching back here a little bit. So I think Frederik at the time, Frederik Schreiber, the guy who runs 3D Realms now, or I think he still does, basically he was remaking maps in the middle of Unreal Engine 3 of like some of the original Duke 3D maps and posting them on Gearbox forums, which I think one of them that got a lot of hits was like all of the 3D renders of like Hollywood Holocaust, which is like E1M1 for Duke 3D. That caught my attention as well. I was like, wow, that looks really neat. You know, like I reached out on the forums, I was like, hey, do you need any music? Maybe this would be fun. Like, I really liked Duke 3D back in the day. And he said, yeah, sure. You know, like if you want to remake some of the stuff and hand it off to me.
So I just did some of that. I just had gear laying around and I wanted to kind of learn how to do this anyway. So I just dove in head first and started kind of remaking some of the old Duke 3D tracks. That kind of spawned into, you know, not a lot, not a lot was done in Duke 3D Reloaded. It was just like, you know, like some odds and ends stuff. Somehow that turned into Apogee, Terry Nagy, head hunting us and saying, hey, I have an IP that I’d really like you to work on called Rise of the Triad if you guys want to give it a try. And he had an investor with him at the time who was interested named Dave Oshry And this was a very long time ago. And it’s crazy. Like all those people now are like, you know, on the, we were all on the forefront of like the retro FPS revival stuff.
But basically after Duke 3D Reloaded, yeah, Apogee came, said, hey, we’re interested. And Fred said yes on our side. And we started making Rise of the Triad 2013.
TA: It was funny you mentioned Dave Oshry because when I finally got an interview with him, I think it was easier for me to meet Iron Maiden than get that interview, but after getting that done, I had New Blood covered. I recently also interviewed Nightdive about The Thing, but I needed to complete the trifecta for boomer shooters: Andrew Hulshult. Now that’s finally happening.
We both laugh.
TA: I remember in a prior interview you did, you mentioned how when you were doing the 3D realm stuff, you weren’t aware of how much you were in demand in the industry. So when that door closed, suddenly you had like a, like thousands of opportunities and stuff like that. But, and obviously you’ve gone on to do some of like some huge titles since then. Obviously Doom Eternal DLC is the one which a lot of people think about you. For me, it’s like other titles like Nightmare Reaper and Dusk and stuff like that. I want to know how you’ve changed as a musician and as a professional from back then to now.
AH: Oh, that’s a great question. Man, starting off in the industry with, you know, doing the whole stuff with Interceptor, like where we were, what we were just talking about, it was a completely fresh experience as a musician. So you don’t know what you’re getting into. And then a lot of times you’re like, I don’t even know what I should be getting paid, you know, like you have an idea, but you’re not, you don’t know. And so like wading through those waters is interesting and also dangerous territory. But the stuff that I have learned has been all from, you know, tripping on agreements as you go forward. You sign an agreement, you go for it, you make the money, and on the back end you’re either like, this didn’t really work out, or you’re like, hey, this worked out, we need to make sure that we do this again, you know.
It’s learning the entire time. Because this is the thing that I feel like musicians get hung up on a lot, which is, you know, they just, they want to make really, really awesome, beautiful art for games. And like, there’s absolutely nothing wrong with that. You should, that should be the core principle that you do. But you have to make sure that you get paid so that you can continue to do it. Because otherwise you burn yourself out and you don’t want to work in the industry anymore. And that, to go back to what you were talking about with, I didn’t know how much, like how in demand I was. I was right at that point. I was about to walk away from everything right after the whole stuff with 3D Realms. I was done with games. I was like, you know what, like there’s not a lot of avenues here and I’m just getting more bitter as time goes on. And the last handful of things I’ve worked on have just bombed so why am I putting all this effort into this?
I should try and do something else. And I didn’t realize until I stepped out from 3D Realms how many people wanted to hire me. And like, it’s one of those weird things where like, I’m sure you can probably relate. When you have a job, like a day job, if you’ve ever just held like a simple, simple day job, you can get sucked into that entire cycle of that job and nothing else matters around.
So an example of this would be, I worked for a music retailer for about 15 years, okay. I was doing well for them. They wanted to give me my own stores. I was working on management. And the cycle that comes with that where you get so wrapped up in the business of that makes you lose focus of lots of other things in life. And that’s kind of what happened to me while I was working with 3D Realms. That’s nothing bad about them. It’s just when you’re working for a company rather than working for yourself, it turns into that.
From the start to now has been like just a crazy learning process. You do have to walk on landmines. You do have to get blown up a couple of times until you figure out what works and what doesn’t. Stepping out from 3D Realms after they said, hey, we don’t have the cash to pay you. It’s like, oh, okay, I guess I’ll go figure this out now. And then all of a sudden, DUSK, you know, like that’s literally the next thing that and AMID EVIL were the very next things that I worked on. It was crazy.
TA: Obviously you get a lot of questions about game music, but what is like, since you brought up this whole thing about how you’ve changed, what is the biggest misconception that people both in the industry and like the players have about video games music right now?
AH: The biggest misconception. Oh, that anybody can do it and it’s a small part. laughs It’s like, you can’t just throw anything in there. Like, man, it’s I’d say that from a public like standpoint of I don’t play games that much and I’m casual kind of thing, some of my friends and some of my family are like, you have the easiest job. I’m like, you have no f***ing idea. You know, walk in my shoes for a day and let’s talk again. Yeah, it’s really difficult because you, you really have to trick yourself into getting into whatever atmosphere or whatever world someone else has painted already. Right. Like they’ve already built everything out. This is their vision. You have to step into it and you have to step into it with respect to their design philosophies. And you also have to have the confidence to say, well, this is what I think we should do and why we should do it. And there’s a lot of, there’s a lot of social confidence that’s needed to do a gig like this.
It’s complex in a lot of different ways. The art side of it is hard enough, like pulling shit out of thin air, is difficult already, but then, um, explaining to people why you want to go this direction and sometimes even arguing to get that direction can be a hassle in and of itself.
So yeah, I’d say the biggest misconception is that it’s easy and that it’s not easy. I swear to God, so many times my friends are like, ah, you’ve got the easiest job. I’m like, no, man, I live, I, I threw a hundred pound boxes from 6 AM to 4 PM. And sometimes I miss that.
Whiskey and coffee fueled half of the @RiseoftheTriad OST. Most songs were composed between 9pm and 3am.
The more you know
— Andrew Hulshult (@AndrewHulshult) September 30, 2015
TA: So I also want to talk a lot about your gear, but before that, I think we should discuss some of the game specific things. So let’s start with ROTT 2013. I’ve just sent you a tweet right now, which I wanted to reference. This is quite an old one (linked above). Well, I actually didn’t know much about this soundtrack until recently. I had heard about it and I had heard that a lot of my friends bought that release. They said that it wasn’t that great. I played the original on DOS but not the 2013 version, so I didn’t really hear it all in-game until the Ludicrous Edition and when folks made a big deal about it having Andrew Hulshult’s music.
