![]() ![]() ![]() He didn’t initiate computer music with his hand empty. On the other hand he also could write around 10 minutes long “score” (“Delta,” “Kentilla,” “W.A.R.” and so on), Compared with typical game music like “Gerry the Germ,” we realize the extent of his styles and a departure from “game music.” Furthermore, he copied real pop songs actually (“Zoids”). Sometime we find perversion.that the game title was treated like his opus before the game. That is to say, value or criteria of “soundtrack” for video game (differed from interest of the game itself!) was born among users as he was the start of things. Rob Hubbard could write “songs” close to “pop songs” than ever Video Game Music (“One Man and his Droid,” “Last 8” and so on). Compared with past C64 soundtrack for games, it is abnormal. Main themes of his soundtracks are almost over 3 minutes. In connection with it, we can point out that his “song” duration cut off from usual VGM. 1989)Īlso it is a distinctive feature of Hubbard’s music that long solo can be incorporated into a tune. “Skydive” is a good example in the case.ĭynamic Range / Michael Hendriks (F.A.M.E. SFX is inserted in part and role as same as instrument (“Formula One Simulator.” “Crazy Comets” and so on). SFX bears particular sense in “score” (“Thrust,” “Flash Gordon” or “Geoff Capes Strongman Challenge” #3 and so on). This enable background music “keeped” by SFX depending on actions in game (Conversly, see “Human Race” as an example makes sure of 1ch for SFX exclusively) like we’ve listened to tunes on 8-bit or 16-bit consoles. SFX Interrupting in-game music (”Thing on a Spring,” “Monty on the Run,” “Commando” and so on). ![]() In Rob Hubbard’s music SFX had been used variously. Just recall the soundfx used at the beginning of Thrust, or in the Delta in-game music. ![]() ” he was able to make music which was suited to the strengths and limitations of the SID chip. Next year Tony Reed described the same point in the interview article on “Commodore Horizons.” Anyhow this superposition was revolutionary. When considering Spector’s technique is at/from studio recording, we have to say that each principles are different. (How many so-so games have benefited from reviewers passing comment: ‘another great soundtrack from Rob’ ?) GOATTRACKER INSTRUMENT TABLES SOFTWAREIf, as has often been observed, the software industry is a re-run of the pop business, then Rob Hubbard must surely be its Phil Spector, a great original, extending the bounds of the possible, and masterminding hits for others. It is interesting that he referred Phil Spector, the innovator of “Wall of Sound,” then. The writer Tony Reed also mentioned surprise that his music sounded more than 3-channel as McSweeney said. We can know a heated atmosphere Rob was recognized as a unique hero at that time through one article from “Popular Computer Weekly” In the end of same year. Nowadays people often remember them as his masterpieces. Some titles such like “Thing on a Spring,” “Monty on the Run” and “Crazy Comets” were released. In 1985 Rob Hubbard began steady advance in Commodore 64 as the major battlefield. “the 64’s poor little 3-voice SID chip suddenly brings forth great-sounding 5 or 6-part,” Because his career can be read as a document of a person tried to make music impressed with Rob, and can be the proper example.ġ. It is noticed that musical recollection by Thomas Egeskov Petersen a.k.a Laxity, Danish scener who learned Rob’s musicroutine and started composing, is inserted into this article. So I’ll draw additional lines to McSweeney’s text above for a little introduction. Here I’ll introduce Rob Hubbard, a musician/sound programmer from England (moved to United States in the late 1980’s), who did many “classical” soundtracks for video games in the western, however, his work and achievements have not been introduced in Japan. According to McSweeney, the author of “Rob Hubabrd’s Music,” should I start from this embarrassment “How do I introduce someone like Rob Hubbard?” ![]()
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