Frank Klepacki

Source: Wikipedia, the free encyclopedia.

Frank Klepacki
Klepacki, from his solo album Morphscape (2002)
Klepacki, from his solo album Morphscape (2002)
Background information
OriginLas Vegas, Nevada, US
GenresIndustrial, industrial metal, post-grunge, alternative rock, electronic, funk, thrash metal, soul, jazz fusion, progressive rock
Occupation(s)Video game music composer, musician
Instrument(s)Guitar, bass, synthesizer, drums
WebsiteFrankKlepacki.com

Frank Klepacki (

Dune games, The Legend of Kyrandia series, Blade Runner, and the Command & Conquer series. His work in Command & Conquer: Red Alert
won two awards.

He lives in

Spike TV program The Ultimate Fighter
.

Klepacki is currently the audio director of

EA Los Angeles. His solo CD entitled Viratia is packaged with a comic he helped produce.[6]

Early life and career

Klepacki was raised by a family of musicians of

demo tape of original material by age 17. His impetus for diversifying his instrumental abilities was "not being able to communicate with other band members on ideas...for original songs."[11] His first piece of audio gear was a TASCAM 4-track cassette recorder, which he used to record demos, band practices, and live shows.[12]

After learning to program

Malcolm's Revenge, Frank Klepacki met with Westwood leaders to discuss the upcoming game Command & Conquer—the first in a series which would bring him wider fame and critical acclaim.[14]

Command and Conquer series

In 1994, Klepacki met with Westwood Studios developers to discuss the soundtrack of the company's next project—Command & Conquer. To define the game's style, Klepacki listened to a number of bands, including

CD Audio format.[14] Though the soundtrack was not released through retail, Westwood sold it by special order through its website and in game catalogues.[19]

While working on Covert Operations, Klepacki composed Hell March from the idea of "a rock tune to marching boots," finishing the song in one day after inventing the guitar riff.

cut scenes of Red Alert. He previously appeared as a Nod soldier and the voice of the commando in Command & Conquer and would voice bit parts in future Westwood games.[22]

Frank Klepacki's "Hell March"
A 30 second sample of "Hell March", the iconic piece from Red Alert.
Problems playing this file? See media help.

After completing Red Alert, he took a short break to review his work. He concluded that some songs could be enhanced, but Red Alert had already gone

Guinness Book of World Records for selling several million units, bringing Klepacki his widest audience.[24] He wrote additional music for the game's expansion packs, Counterstrike and Aftermath. He attributed the success of Red Alert to an infusion of modern styles not found in other games.[25] Klepacki initially wrote off the popularity of his music, assuming that his music "must only appeal to die-hards."[20] He considered it "very surreal" to realize his soundtracks had gained him fame, and has since embraced his fans and critics.[20]

Later Westwood games

A musician's office with a solid wall and a wall containing windows shown, a microphone stand, an electric guitar, a mixing board, a keyboard, two computer monitors and a computer, a poster of the Transformers franchise
Klepacki's last office at Westwood

In 1997, Klepacki scored a

cut scenes featuring James Earl Jones, the voice of Darth Vader.[25] The scenes also allowed him to integrate the Airstrike and No Mercy themes into the game's score despite the aforementioned shift.[27] With the expansion pack Firestorm, he attempted to "set things right" by writing more upbeat songs and including Stomp, which would also appear in Command & Conquer: Renegade.[27]

He next scored

EA Los Angeles.[33] Several Westwood founders left the company. Though Klepacki offered to score Command & Conquer: Generals and submitted a demo to EA, he was not contacted to compose.[17] When asked in 2002 whether he'd continue scoring music after ten years in the business, he exclaimed, "ten down, next ten to go!"[30] After Westwood's closure, he reflected on his past work at a dinner held by Joseph Kucan and other former employees.[34]

Petroglyph Games

Klepacki took a brief hiatus to work on solo albums, then joined

Industrial Light and Magic, and took pride in having his name associated with an official Star Wars product.[36][37]

Musician Frank Klepacki holding the neck of his guitar to the camera wearing sunglasses, collectibles on shelves in the background
Klepacki at his Petroglyph office (c. 2009)

For the Forces of Corruption expansion pack, he took greater creative liberty with the Star Wars feel by writing an original theme for the new criminal faction.

Command & Conquer 3, but was too busy with duties at Petroglyph and declined to mention the offer publicly.[5][6] Electronic Arts hired Steve Jablonsky to score the game;[41] an EA community manager at C&C 3's forums suggested that the audio team studied Klepacki's music and tried to recreate his style.[42] Klepacki feels that Command & Conquer is a significant part of his life and that he would like to return to the Tiberian era.[8] He conceded that employment at Petroglyph games would probably prevent him from working with Electronic Arts.[6] Years later in 2018 he would have that opportunity due to EA partnering with Petroglyph to remaster the games since many of the former developers from Westwood Studios had started, and continue to work at, Petroglyph.[43]

Klepacki's next project was a game collaboration by

SEGA and Petroglyph named Universe at War: Earth Assault.[16] As of December 2006, he had composed several songs for various factions and enjoyed the "opportunity to create something new again, not based on...existing intellectual property.[44][45] Klepacki "began by taking into account what songs were identified as fan favorites in...past related work".[45] He was interviewed about the creative process on 27 March 2007 by Kevin Yu, a Petroglyph community manager, and provided a detailed tour of his studio at the company.[46] His office included one of the fastest computers at Petroglyph and a vocal booth where unit responses and other vocalizations were tested and tweaked before voice actors performed finishing work.[46] Klepacki was glad that Universe of War did not demand strict obedience to a particular style. He declared that surprises were in store for Command & Conquer fans waiting for him to return to his "roots" and "adrenaline-pumping soundtrack style", and suggested that they "imagine my mindset...when Command & Conquer first came out, and add about fifteen years experience to that."[45][46]
Klepacki summarized the game's main styles shortly before release:

For the Hierarchy—our evil alien race—I went with a more heavy-metal rock influence, to go along with how they stomp all over everything on the map with their massive walker units. Novus—our high-tech, hit-and-run faction—featured more industrial electronica to go along with their futuristic robotic feel. For our third faction, the Masari—our ancient star-faring side—I provided an epic orchestral feel, with worldly influences to reflect their godlike nature and questionable links to our past. One Masari track in particular, "Divine Intervention," would become the central theme to the whole game.[45]

As audio director, Klepacki also created many sound effects for Universe at War. For the alien Hierarchy, he cultivated an "unnatural" aesthetic through an "arsenal of mangled noises".[45] Klepacki used a "combination of heavy cranes recorded with overdriven impacts" to give the faction's walkers a "menacing machinelike breathing sound", and made up his own language to record "various grunts, growls, mannerisms, and strange vocalizations.[45] Since Hierarchy heroes needed to communicate to the player in English, Klepacki engineered dialogue to seem as if the aliens were "telepathically speaking to you, with a back-masking effect on their voices...as if the words are being channeled straight to your brain".[45] The Novus effects were usually phased and involved "mechanical movement, electricity, and metal sounds". He invented yet another language for two characters Viktor and Mirabel, who occasionally speak to one another. Lastly, he drew on weather and other natural sounds for the Masari, describing their ambience as having "more weight, thunder, heavy bass rumblings, vortex gusts..."[45] Klepacki directed the voice-acting to have a "noble and strong" feel without appearing typically medieval or overly dramatic.[45] He ultimately felt he did the work of "three people" with Universe at War, as the game's audio requirements changed constantly, requiring vigilance and programmer support.[12] Divine Intervention was later nominated for a Game Audio Network Guild award, and the soundtrack was released as a free download after Petroglyph's efforts toward a traditional release were frustrated.[47][48]

Klepacki next composed three songs for

Cubase, Kontakt, a MOTU 2408 audio interface, and several instruments.[12] Collaborating with Video Games Live, Klepacki performed Hell March and its Red Alert 2 version in Las Vegas in 2008, and later performed Hell March 3 in the Netherlands with a choir and orchestra through the Games in Concert series; he wore a Soviet army conscript uniform for the song.[20]

Solo and band work

Frank Klepacki at Magfest 2019 playing a drum set

Klepacki has also played in and produced albums for several Las Vegas bands.

vocalist.[57]

Klepacki's "Rocktronic"
A 30 second sample of "Rocktronic", displaying Klepacki's solo style of composition.
Problems playing this file? See media help.

Klepacki's solo work debuted in 2002 with Morphscape. Production began in 1996 with the song Cybertek, though an album was not planned at this time. The rest of Morphscape's songs were composed after Red Alert 2. Klepacki composed the album's title track while working on Command & Conquer: Renegade, and feels the game's style is visibly present in Morphscape.[10] Klepacki released the final product after Westwood's dissolution. His biggest inspiration in creating solo works is the legion of fans interested in Command & Conquer.[58] Klepacki took a hiatus from composing video game music to write two other solo albums, the first of which is entitled Rocktronic. Released in 2004, the album was described as dark, edgy, and heavy in a way that will appeal to Command & Conquer fans.[59] Klepacki sought out specific samples and instruments used in the Command & Conquer soundtrack for use in the release; the title "Rocktronic" was an attempt to name his style of music.[3] Featuring live drumming in certain songs, the album is Klepacki's best-seller. Following Rocktronic was Virtual Control, released in 2005. Klepacki complemented his usual style with experiments in hip hop on the album. Tracks from each release have been periodically used in The Ultimate Fighter, along with certain custom themes written for the show.[11][59]

On 1 August 2006, he revealed his next solo project would be named

HDNet's Inside the MMA and HDNet Fights in autumn 2007.[6] Around this time, he made it to the district finals of the Guitar Center "drum-off" competition after winning two store challenges in Las Vegas but was eliminated.[60] His solo album Infiltrator was released in April 2009. According to Klepacki, the album was inspired by his recent work on the Red Alert series.[6] Klepacki enjoys Las Vegas thanks to its diversity of musical talent and prolific number of shows and attractions.[20] He attributes his showmanship to being raised in the city, noting that one has to "stand out" to be noticed among the entertainment atmosphere of Vegas.[20] The city's Las Vegas Weekly honored him as a "badass composer" in its mid-April 2009 issue, highlighting his prolific fan-base and work as producer for various local bands.[61]

Work and beliefs

When composing for video games, Klepacki spends a few days to compose and master one song on average.[62] He feels writing music for games is somewhat difficult as only early software builds are available to play; he sometimes must compose songs based on vague descriptions.[30] Composing for cut scenes is easier by comparison, and Klepacki enjoys drawing inspiration and direction from game design art.[20][30] Nonetheless, he prefers to compose for a game throughout its development rather than write songs for a finished product.[44] He feels that game music has been harder to compose than film or solo music as he must compose for all situations a player may discover or engineer.[13] Klepacki maintains templates with a base of common instruments prepared for sudden bursts of inspiration, as he resents "having technical issues...as an obstacle."[13] When asked how the composing process begins, Klepacki related:

It starts with knowing what I'm composing for. Is it a battle theme, or main title, or ambient theme, etc. Then I figure out what type of mood or style best fits...the subject matter. From there it's about picking the right instrumentation and then the writing process starts. It could start with anything; a guitar riff, a French horn melody, a drum rhythm or bass line. Then I keep alternating instruments track by track recording one part at a time until I have something that sounds full and gets the point across I'm trying for.[13]

Klepacki has said that the most rewarding part of composing video game music is working with a team—which he compares to chemistry between band members—and knowing he is part of a greater cause.[25] He believes that game music could improve if artists focused on quality and derived inspiration from playing games.[18] He has expressed interest in having Electronic Arts sell his soundtracks in retail stores, preferably next to video games in electronic departments.[63] He advises those wishing to get in the video game business to attend conventions and investigate developer companies.[25] He also noted in 2008 that "composition and engineering skills are now required," advising upstart composers to ensure their work is film-quality.[20] Klepacki is happy to see older games offered on the Wii, hoping that gamers are "recognizing once again that simple, short fun experiences are just as good as...long, huge-production experiences."[13] Klepacki listed several influences for his style of composition: "John Williams naturally for my love of Star Wars and his style in general, Michael Kamen for his composing diversity, Metallica for sparking my metal influence, Vince Dicola who in my opinion is way under-rated for his great work, Sly & The Family Stone for inspiring funk, syncopation, and positive energy, Larry Graham for inspiring me to play funk bass, Nine Inch Nails for their unique uses of mangled sound, and Rob Zombie for combining music with a theme and persona."[12]

Stylized image of Frank Klepacki at his office wearing sunglasses and sticking his hand to the camera, red and green neon glow effects around his hair, hand, and sunglasses
Image of Klepacki from Rocktronic (2004)

Klepacki runs a personal website featuring a biography, archived interviews, and a playlist of songs

Order of the Griffon for the TurboGrafx-16, citing difficulties with the system's limited musical capabilities.[16] Concerning his solo career and Westwood, Klepacki regrets "not having attended more of the fun company functions and parties while I was instead playing club gigs with bands with the mentality of trying to get signed or discovered."[13]
When asked to reflect on his career, he replied:

The ironic thing is that my original goal in life was to be in a famous band, tour the world and sell millions of albums. Although that didn't quite happen, I got something else just as gratifying. Instead of being in a famous band, I gained some fame in the industry as a game composer. Instead of touring the world, I receive fan mail from around the world. Instead of selling millions of albums, my music is on millions of games! And I sell enough of my own albums that allows me to keep releasing them. So in a different way, I kind of got what I wanted after all. And I'm more than happy with that. The most fulfilling part of it is that I feel I contributed something that mattered to a significant number of people, and more importantly, I got to be a part of projects that mattered a lot to my life personally, like Star Wars![13]

Klepacki is not seeking a record deal, citing a "horrible chain of steps to getting famous." Scathingly critical of the

airplay—where one hears "the exact same songs 3 months at a time."[68] When interviewed about file-sharing, he expressed mixed emotions.[30] Holding that compact discs are "just too damn expensive", Klepacki believes that a few dollars' reduction in price would "deter people from downloading for free."[70] Conversely, he notes that artists—who "don't get as much money as you think"—need to be compensated for their work.[30] His favorite artists by decade, starting with the 1960s, are Sly and the Family Stone, Graham Central Station, Metallica, Home Cookin', and Bob Schneider.[71]

Frank Klepacki & The Tiberian Sons

The band consists of:

  • Frank Klepacki – guitar, keys, drums
  • Tony Dickinson – guitar, keys, bass, frontman
  • Connor Engstrom – guitar
  • Travis Moberg – drums
  • Max Noel – bass

The Tiberian Sons minus Klepacki have released the albums Conquering MAGFest (2015) and Collateral Jammage (2016). In 2020 they all collaborated to produce Frank Klepacki & The Tiberian Sons: Celebrating 25 Years of Command & Conquer for the remastered collection.

Works

Klepacki at the Game Developers Conference 2019, as part of a Command & Conquer retrospective panel

Video game music

Band, film, and solo music

Commercial music

See also

References

  1. ^ "Yo, Cookie". Las Vegas Life. March 2000. Archived from the original on 24 December 2007. Retrieved 28 August 2006.
  2. ^ a b "The Bitters". Retrieved 28 August 2006.
  3. ^ a b Frank Klepacki. "COMMENTARY: Creating Rocktronic". frankklepacki.com. Retrieved 22 April 2007.
  4. ^ a b "MobyGames: Frank Klepacki Rap Sheet". MobyGames. Retrieved 28 August 2006.
  5. ^ a b "PCGP Episode 80: Four Score!". PCGamerPodcast.com. 26 April 2007. Archived from the original on 5 May 2007. Retrieved 5 May 2007.
  6. ^ a b c d e f g h "News". frankklepacki.com. Retrieved 5 June 2006.
  7. ^ a b c Jarret Keene (30 June 2006). "Interview with Frank Klepacki". 944 Magazine. Archived from the original on 2 June 2016. Retrieved 27 July 2006.
  8. ^ a b Mattias Lundin (21 December 2003). "Interview with Frank Klepacki". Gamingeye.com. Archived from the original on 28 September 2007. Retrieved 28 July 2006.
  9. ^ a b Earl Green (2001). "Interview with Frank Klepacki". The Logbook. Archived from the original on 24 December 2007. Retrieved 27 July 2006.
  10. ^ a b "COMMENTARY: What is a Morphscape?". frankklepacki.com. Retrieved 28 July 2006.
  11. ^ a b c d Banxy (2 April 2007). "The Frank Klepacki Interview". Twisted Outlook. Archived from the original on 29 September 2007. Retrieved 22 April 2007.
  12. ^ a b c d "In the Studio: Frank Klepacki". Music4Games. 3 March 2008. Archived from the original on 8 May 2008. Retrieved 15 June 2009.
  13. ^ a b c d e f g h i j Klepacki, Frank (October 2007). "Interview with Frank Klepacki". Gameplay. ITC Publishing.
  14. ^ a b c d e f g h i Frank Klepacki. "COMMENTARY: Behind the C&C Soundtrack". frankklepacki.com. Retrieved 27 July 2006.
  15. ^ a b c d Josh Horowitz (17 September 2006). "Good to the Last Note". Adrenaline Vault. Archived from the original on 6 November 2004. Retrieved 27 July 2006.
  16. ^ a b c d e "Gamers With Jobs Radio: Interview with Frank Klepacki". Gamers with Jobs. 21 March 2006. Retrieved 22 August 2006.
  17. ^ a b Frank Klepacki. "Interview FAQ". frankklepacki.com. Retrieved 27 July 2006.
  18. ^ a b c d e Music4Games staff (22 January 2006). "Interview with Star Wars: Empire At War Audio Director and composer Frank Klepacki". Music4Games. Archived from the original on 24 October 2007. Retrieved 28 July 2006.{{cite web}}: CS1 maint: numeric names: authors list (link)
  19. ^ Westwood Studios (2000). The Westwood Studios Catalog. Westwood Studios.
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  24. ISBN 0-553-58810-9
    .
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  26. ^ Ron Dulin (3 December 1997). "Review of Dune 2000". GameSpot. Retrieved 23 August 2006.
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  43. ^ Arts, Electronic (14 November 2018). "EA Reveals the Details of C&C Remastered". Electronic Arts Inc. Retrieved 4 December 2018.
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  46. ^ a b c Kevin Yu, Frank Klepacki (27 March 2007). "VIDEO PODCAST: THE KING IS BACK TO PREVIEW THE MUSIC IN UAW!". Petroglyph Games. Archived from the original on 14 September 2011. Retrieved 22 April 2007.
  47. ^ "6th G.A.N.G. Awards". Retrieved 15 June 2009.
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  57. ^ "Mo Friction". frankklepacki.com. Retrieved 28 July 2006.
  58. ^ Jay Semerad (2002). "Interview with Frank Klepacki". Music4Games. Archived from the original on 27 December 2003. Retrieved 28 July 2006.
  59. ^ a b "Personal Projects". frankklepacki.com. Retrieved 28 July 2006.
  60. ^ "STORE WINNERS". Guitar Center Drum-Off. 10 October 2007. Archived from the original on 12 November 2007. Retrieved 15 November 2007.
  61. ^ Spencer Patterson (16 April 2009). "Make Room for the BADASS Music Issue!". Cinevegas. Archived from the original on 19 February 2003. Retrieved 5 June 2009.
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  63. ^ "Video Game Soundtrack Report 1.0". Music4Games. Archived from the original on 7 November 2002. Retrieved 28 July 2006.
  64. ^ "COMMENTARY: Frank at Star Wars Celebration 2". frankklepacki.com. Retrieved 28 July 2006.
  65. ^ "Youtube: Flyrecords1". YouTube. 2006. Retrieved 2 January 2007.
  66. ^ "COMMENTARY: Digital Cinema". frankklepacki.com. Retrieved 28 July 2006.
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  68. ^ a b c "COMMENTARY: Record Deals". frankklepacki.com. Retrieved 28 July 2006.
  69. ^ "Sonic Garden: Home Cookin'". Sonic Garden. Archived from the original on 25 August 2005. Retrieved 25 August 2006.
  70. ^ John Przybys (12 October 2000). "HIGH TECH: Easy Access". Las Vegas Review-Journal.
  71. ^ "Where My Rockers At?". Petroglyph Games. Archived from the original on 1 October 2011. Retrieved 2 January 2007.
  72. better source needed
    ]
  73. better source needed
    ]

External links

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