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Shaw was exposed to music at age of 5, when he was given a guitar by his uncle.[1] He trained himself in music playing in various bands
through late 70s to early 80s. Though he had an interest in playing music, he wanted to be a record producer. After training at SAE London
in the mid 80's, he was hired by Gerry Anderson (of Thunderbirds fame) as his recording studio manager, recording sound for various TV
shows.[1] such as the tail end of the Terrahawks series, Dick Spanner and Space Precinct. Around 1990 Shaw left Anderson and returned to
music production, working for StreetSounds re ...read more
Shaw was exposed to music at age of 5, when he was given a guitar by his uncle.[1] He trained himself in music playing in various bands
through late 70s to early 80s. Though he had an interest in playing music, he wanted to be a record producer. After training at SAE London
in the mid 80's, he was hired by Gerry Anderson (of Thunderbirds fame) as his recording studio manager, recording sound for various TV
shows.[1] such as the tail end of the Terrahawks series, Dick Spanner and Space Precinct. Around 1990 Shaw left Anderson and returned to
music production, working for StreetSounds record label, providing releases for the London white label dance club scene. He also stated that
he was "an avid gamer" at that time, owning an Atari ST, which he also used for processing and sequencing music.[1] In 1992 he learned
that Peter Molyneux's Bullfrog Productions needed a sound specialist for audio in their games, and Shaw decided to try as he was
experienced in both computer technology and sound area, successfully getting the job. At Bullfrog Shaw composed soundtracks for many of
their games, but most memorable and successful were for strategy games Syndicate , Theme Park, Magic Carpet and Dungeon Keeper. In
1997 Bullfrog's founder Peter Molyneux quit the company and formed Lionhead Studios, and Shaw followed him in the new venture.[2] His
first project was the soundtrack for Black & White. A fan of ambient techno[2], Shaw composed meditative and relaxing soundtrack in
manner of the genre. Music was positively received by sites such as IGN and Gamespot.[3][4] Aside of audio part of the game, Shaw was
also the one who proposed the idea of casting spells with gestures. Black & White was followed by 2004's Fable. Danny Elfman was brought
in to compose the theme music, and Shaw was asked to do more traditional orchestral ingame score which would more fit Elfman's fairy-
tale-styled theme music.[2] Hollywood conductor Allan Wilson (who worked with Elfman on his music for 1999 film Sleepy Hollow) was
brought in to conduct the orchestra, and Shaw used choir to further enhance the fairy-tale nature of the score.[2] Shaw not only composed
the game score, but also implemented the sound into the game by himself.[5] The soundtrack for Fable was successful, and as known as the
game is, with IGN calling it "It really couldn't have been a better score", and Gamespot saying that audio "is quite possibly the best part of
the game." After his success with Fable Shaw composed again-successful soundtrack for its sequel, styled as its predecessor, and directed
the audio of Black & White 2. He is now the Head Of Sound and Music at Lionhead, leading a small group. He recently finished the
soundtrack for Fable 3.
Information from:http://en.wikipedia.org/wiki/Russell_Shaw_(composer) « hide |
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