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Martin O'Donnell: Difference between revisions
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O'Donnell began working in television/film. In his early career, O'Donnell wrote the jingles for Mr. Clean and Flintstones Vitamins. According to O'Donnell, after fifteen years of doing TV and radio commercials, he decided he wanted to do game soundtracks. | O'Donnell began working in television/film. In his early career, O'Donnell wrote the jingles for Mr. Clean and Flintstones Vitamins. According to O'Donnell, after fifteen years of doing TV and radio commercials, he decided he wanted to do game soundtracks. | ||
The composer's first foray into game-related work was working as a sound designer for the video game ''Riven'', the sequel to ''Myst''. His company, TotalAudio, also produced the music for [[Bungie Studios]]' ''Myth: The Fallen Lords'' in the same year. TotalAudio later composed the music for Valkyrie Studio's ''Septerra Core, Legacy of the Creator''; O'Donnell met [[Steve Downes]] while working on the game, and the composer would later recommend the voice actor to Bungie for the role of the [[Master Chief]]. | The composer's first foray into game-related work was working as a sound designer for the video game ''Riven'', the sequel to ''Myst''. His company, TotalAudio, also produced the music for [[Bungie Studios]]' ''Myth: The Fallen Lords'' in the same year. TotalAudio later composed the music for Valkyrie Studio's ''Septerra Core, Legacy of the Creator''; O'Donnell met [[Steve Downes]] while working on the game, and the composer would later recommend the voice actor to Bungie for the role of the [[John-117|Master Chief]]. | ||
Soon after producing the music for ''Myth II'', Bungie contracted O'Donnell for several of Bungie's other projects, including ''ONI'' and ''[[Halo: Combat Evolved]]'' (which at the time was code-named ''Blam!'') In 1999, Bungie wanted to re-negotiate the contracts for ''ONI'', and the negotiations resulted in O'Donnell joining the Bungie team, only ten days before the company was bought by Microsoft; he is one of only a handful of Bungie employees who remain working at the company since then. While O'Donnell worked at Bungie, Michael Salvatori handled the business side of TotalAudio. After producing the music for ''ONI'', O'Donnell was tasked with composing the music for Bungie's next project, which would be unveiled at E3 2000. After talking with [[Joseph Staten]], O'Donnell decided the music needed to be "big, exciting, and unusual with a classical orchestra touch to give it some weight and stature. We also wanted it to have some sort of 'ancient' feel to it." The music was recorded and sent to New York the same night the piece was finished; the resulting music became the basis for the [[Halo Trilogy|''Halo'' series]]' "highly recognizable" signature sound. | Soon after producing the music for ''Myth II'', Bungie contracted O'Donnell for several of Bungie's other projects, including ''ONI'' and ''[[Halo: Combat Evolved]]'' (which at the time was code-named ''Blam!'') In 1999, Bungie wanted to re-negotiate the contracts for ''ONI'', and the negotiations resulted in O'Donnell joining the Bungie team, only ten days before the company was bought by Microsoft; he is one of only a handful of Bungie employees who remain working at the company since then. While O'Donnell worked at Bungie, Michael Salvatori handled the business side of TotalAudio. After producing the music for ''ONI'', O'Donnell was tasked with composing the music for Bungie's next project, which would be unveiled at E3 2000. After talking with [[Joseph Staten]], O'Donnell decided the music needed to be "big, exciting, and unusual with a classical orchestra touch to give it some weight and stature. We also wanted it to have some sort of 'ancient' feel to it." The music was recorded and sent to New York the same night the piece was finished; the resulting music became the basis for the [[Halo Trilogy|''Halo'' series]]' "highly recognizable" signature sound. | ||