originally written by Nicholas Yanes. Published here for posterity (original link is defunct)
Rich Vreeland, more commonly known as Disasterpeace, has always had a passion for music. After playing the guitar throughout childhood and his teenage years, Vreeland pursued his interest in music by going to Berklee College of Music. After college, Vreeland interned at the Singapore-MIT Game Lab where he worked on the puzzle games Waker and Woosh. This experience would not only further solidify his love for music and gaming, he would use this experience to build a career designing sound and music for videogames.
GameSauce was recently able to interview Disasterpeace about his background, his experience at MIT Game Lab, working on Bomberman, developing January, crafting the soundtrack for Fez, and his general thoughts on music in gaming.
Beginning of Disasterpeace
Rich Vreeland always had a love for music. As a teenager, he was into “Nu Metal and pretty much anything that was guitar heavy and riff oriented,” with two of his favorite bands at the time being Tool and Rage Against the Machine. It was around this time that Vreeland became interested in videogame music. One of the first projects to truly get Vreeland’s attention was Metroid Metal – a website dedicated to the soundtrack of the Metroid videogame franchise.
It was also during his teenage years that Vreeland created the name that many know him by: Disasterpeace. Coined in 2004, Vreeland says, “Disasterpeace came out of ‘masterpiece’, and I changed piece to peace to give it an additional meaning, in the sense that disaster and peace are sort of diametrically opposed to one another.” It is a name that Vreeland not only feels accurately represents his approach to music and sound, it is the name that Vreeland would take with him through college and into his professional career.
Vreeland began his college career in 2006 at Berklee College of Music and graduated in 2009 with a Bachelor’s of Music in Music Synthesis. Due to Berklee being located in Boston, Massachusetts, and his interest in videogame music, Vreeland eventually learned of the Massachusetts Institute of Technology’s Game Lab and its internship opportunities. Vreeland was able to earn an audio intern at the Singapore-MIT GAMBIT Game Lab.
Approach to Sounds, Music, and Franchise Games
After his internship, Vreeland went on to write music for games such as Bomberman Live: Battlefest and Drawn to Life: The Next Chapter. During this time, he learned how a work environment could affect his creativity. “As a general rule of thumb, I’ve found that smaller teams tend to allow you more creative freedom to do the kind of work you want to do, and to do it in the way that you want,” says Vreeland. “Large teams tend to have layers of abstraction which make it difficult to communicate with others at times, and to get the right piece of information from the right person.”
In regards to his work on Bomberman Live, a franchise that has been around since the 1980s, Vreeland remembers how he and his colleague aimed to honor “the aesthetic style of the more recent games by creating music that was high fidelity but had lots of ‘gamey’ charm and energy.” He does admit, however, that he “would have liked to have paid more tribute to the older games,” but was more focused on meeting the required standards.
Vreeland learned during this time that his approach to sound design had to differ from job to job. “Developers want you to handle most of the conceptual legwork yourself, which is great fun, but other times, they want to work more closely with you,” he explains. Overall, he feels that a significant aspect of designing a game’s sound is letting the person with the “strongest vision for the work” lead you through the design. An example of this was his next project: designing sound for Fez.
The Shift to Mobile
Vreeland’s understanding of the industry grew just as much as his understanding and passion for music has.
Being involved in games, Vreeland noticed the significant change in consumer habits that is affecting all aspects of the gaming industry: the shift from consoles to mobile devices. Though this reallocation of consumers has impacted those that code and design games, Vreeland feels that “the difference between these two is still tantamount. In the beginning, I was writing music for cell phone games as MIDI files to be delivered, so in that regard, things have converged a bit.”
However, he doesn’t view mobile devices as having the hardware needed to a sound experience comparable to consoles.“Cell phones still have terrible speakers, and oftentimes, you have to adjust your sound and how it’s mixed accordingly so that it doesn’t get washed out by low frequency content that it simply cannot handle.”
Looking Back – Lessons Learned and Future Goals
During his time as a videogame music producer, Vreeland’s understanding of the industry grew just as much as his understanding and passion for music has. “I think seeing people experiment and create music that has so many nonlinear possibilities has given me a lot of perspective about music that I didn’t have before,” Vreeland reflected. “When paired with other media, it can really take you places you wouldn’t even think to go, and that’s one of the things that I think is so great about games and music in games.” Though he is amazed by the near limitless potential of games and music, Vreeland pointed out that “there are a lot of times at the end of the day that I still just want to listen to a good record. It’s funny that way.”