30 years of award winning scores
Together we have over fifty years of professional experience as composers and have been working together since 2001. During that time we’ve amassed a plethora of technical skills and a global network of musicians, studios, engineers, conductors and music editors to help realise our madcap musical ideas.
Paul (AKA Bob – obviously!) is a classically trained musician, gifted at the piano, guitar and trumpet, although not usually at the same time. He has an MSc in Music Technology and a BA (Hons) in Music and Computing and his musical influences include 80s glam rock music, film scores and pop music of most sorts past and present. It’s important to have a broad appreciation of music in our chosen field!
Andrew Barnabas (AKA Barn) is also a classically trained musician, he has a BA (Hons) in Music. He was taught piano from age 7, oboe from 12 and recently took up drums & percussion, finally finding an outlet after 20 years of air drumming! His musical loves are funk, jazz & film scores, and his influences include James Horner, Stevie Wonder, Vangelis and Earth Wind & Fire.
In November, we launched our Patreon page. We aim to support up and coming talent with tutorials and insights into what we do and how we do it. If that’s not for you then lower tier subscriptions give a look behind the scenes of the process and the things that we get up to.
You can find our page at https://www.patreon.com/bobandbarn if it sounds interesting to you.
We’ve seen enough fake trailers on YouTube to approach rumours of MediEvil revisitation with a huge slice of scepticism. But, turns out, it was real! And it was our great privilege to be involved with scoring this new version of MediEvil – revisiting old themes and working on some new ones as well. Spending time in this world is like food for the soul for us….
Sometimes there seems to be jobs that are custom made for you. Dead Pixels was one such job. A comedy TV series which centres on three mates (Meg, Nicky and Usman) whose world revolves around their obsession for the fictional MMORPG Kingdom Scrolls, splitting between their real and virtual lives, and how they cross over.
Working with VR was a new challenge to us. Allowing a player to look anywhere they like creates new challenges when driving content. We learned that it was possible to use sound to steer people in the direction you want them to look. We also learned that extended periods of VR makes us feel quite ill.
This was an absolute blast to work on from start to finish. The writers and directors were kindred spirits, and together we did a lot of laughing! We also visited the set and met the cast and then, capped it all off with one of our most memorable excursions to record in Prague, where we met with musical friends living out there for a couple of headache-inducing nights out.
Back when Web Series were brand new, a company called iDare Productions were lucky enough to be fan-funded to create a multi-award winning sci-fi series – the only long form web series to come out of the UK at that time. Affectionately branded the “90s of web series”, what was accomplished on such a small budget was unprecedented and a true testament to the talent involved!!
In 2012 we attended the Cannes Film Festival for the first time and it was an epic experience for us both. We met Robert Rodriguez at the Sin City 2 party as well as forming friendships that will last a lifetime. We’ve attended each and every year since then (with the exception of 2013). Everybody should go to the Cannes Film Festival at least once in their life!
Brink is a first-person shooter video game developed by Splash Damage and published by Bethesda Softworks for Microsoft Windows, PlayStation 3 and Xbox 360. There are two factions within the game, Resistance and Security, who battle in a once-utopian city called The Ark – a floating city above the waters of a flooded Earth. We wrote a very corporate sounding theme for the Ark and then devised two very distinctive soundsets for these two factions. Again the orchestral elements were recorded in Prague and all elements were mixed by our friend and long time colleague Gareth Williams.
Forza 4 was developed by Turn 10 Studios and published by Microsoft Studios for the Xbox 360. It is the fourth instalment in the Forza series and the first title to support the Kinect sensor alongside the traditional controller-based gameplay. Musically this was a departure from our usual brief but something we enjoyed doing immensely!
This was our first TV commission and we’d been trying to make it into the world of TV for some time at this point. Luckily for us Andy Brereton and Matt Mulot took a chance on us and we were able to deliver a title track for the show that they loved! It was a pleasure working together with those guys and something that we’ve done quite a bit since that day!
In 2006 we had the pleasure of scoring Sega Rally for the Sega Racing Studio here in the UK. After we’d written and produced all the demos, we spent a couple of weeks residential in a recording studio in the midlands with a selection of the great musicians we still love to work with – Alex Reeves on drums (now playing for Elbow), Louis Thorne on guitar and Chris Taylor on bass, with guitar hero on PS2 fired up most of the time. It’s a wonder we got any music recorded at all!
In July 2006 we saw the release of our first library music album – Big Screen Superheroes. Many years later and we’ve worked on a huge range of tracks and albums for Universal Music, Warner Chappell, Audio Networks, Focus Music and Accorder Music to name but a few. It’s always a great thrill to be watching TV and hearing a track you wrote on a TV show you happen to be watching.
We worked together on this game with some of our old Sony friends and colleagues who got together to set up their own game development studio ‘Just Add Monsters’ that later became ‘Ninja Theory’. This game was a lot of fun to compose since the music was inspired by Lalo Schiffrin’s music on ‘Enter the Dragon’ and was a fusion of funk and authentic Chinese instrumentalists.
In 2002 we were able to persuade Sony to not only work with us as freelancers but also to let us record the score for Primal with a live symphony orchestra and choir. To our knowledge nobody had recorded a video game score in Prague before then so it also paved the way for many other scores that followed the same path.
In our career there have been friends and colleagues that stand out for the help and support they haven given us at key moments in our growth. One of those people is Ian Saunter who provided composition work in the first year or two of our inception and allowed us to begin our freelance careers. To Ian, we owe a huge debt of gratitude! These remakes of 3 wonderful retro titles were a wonderful experience to be involved with.