Awards:

G.A.N.G. 2007 Special Recognition Award Rednote Audio for Dead Head Fred
G.A.N.G. 2007 Soundtrack Of The Year Dead Head Fred (Finalist)
G.A.N.G. 2007 Best Original Instrumental Song Blazing Angels II (Finalist)
G.A.N.G. 2007 Best Handheld Audio Dead Head Fred (Finalist)
G.A.N.G. 2007 Best Handheld Audio Transformers (Finalist)
G.A.N.G. 2006 Best Instrumental Of The Year Star Trek: Legacy (Finalist)
G.A.N.G. 2006 Best Arrangement of a Score Jaws: Unleashed (Finalist)
AIAS 2005 Awards-Outstanding Achievement for Original
   Music Composition Rise of the Kasai (Finalist)
TeamXbox Editor’s Choice Awards – Blazing Angels: Squadrons of WWII
G.A.N.G. 2004 Music Of The Year King Arthur (Finalist)
G.A.N.G. 2004 Best Choral Performance King Arthur (Finalist)
G.A.N.G. 2003 Soundtrack Of The Year The Hobbit (Winner)
G.A.N.G. 2003 Best Original Instrumental Song The Hobbit (Finalist)
G.A.N.G. 2003 Music Of The Year The Hobbit (Finalist)
G.A.N.G. 2003 Best Live Recording The Hobbit (Finalist)
G.A.N.G. 2003 Best Original Vocal Song The Sims: Bustin’ Out (Finalist)
TeamXbox Editor’s Choice Awards – The Hobbit
TeamXbox Editor’s Choice Awards – The Sims Bustin’ Out
Three time winner The Telly Awards
Six time winner The Gold Addy Award
Finalist – The International Film & TV Awards of New York
PBS national advertising/marketing award
Two time winner Golden Reel ITVA Award

Reviews for Star Trek: Legacy:

Parker Davis, Legacy Producer: “Mad Doc was fortunate enough to recruit the musical talents of Rednote Audio to score a completely original soundtrack for Legacy. They crafted a game score that beautifully marries the cinematic appeal of Star Trek with the intensity of starship combat. We’re thrilled with the results and believe gamers and fans of the series will agree it’s very ‘Star Trek’ – very science fiction.”

Team Xbox: “The inspiring soundtrack is tres next-gen, with an outstanding orchestral mélange…” Sound 8.5 out of 10. Overall game 5.5 out of 10.

Game Chronicles: “The music keeps you in the Star Trek mindset in the menus, opening movies, and even during the game. It’s totally original yet oddly familiar.”

Gamespot: “The music is typical of Star Trek, with noble orchestral themes…”

IGN: “The game’s atmosphere and Trek-cred is further enhanced by the addition of a suitably moody musical score. The [composers] have done a great job of making it feel authentic. A pleasantly evocative score”

Gamerz Edge: “The sound in the game is outstanding. The soundtrack is appropriately instrumental and purposeful, and it fits in naturally with the Star Trek universe.”

Game Vortex: “Audio is another area where Legacy shines – the musical score has Star Trek flair…”

Deeko: “The music is orchestral and wonderful, very Trek-ish, if that makes any sense.”

PALGN: “An epic soundtrack – atmospheric to the max.”

Cheat Code Central: Music/Sound FX/VO: “One thing that the game does very well is creating a distinctly Trek experience. Everything that a Trekkie would expect feels like Star Trek.”


Reviews for Blazing Angels: Squadrons of WWII:

Sylvain Brunet, Ubisoft: “Working with Rednote Audio was a wonderful experience. These guys are amazingly professional. They composed a great musical score, setting an authentic atmosphere that perfectly fits the ambience of the game. Big thumbs up for the main theme!”

XGP Gaming: “There are some positives in the audio department. The soundtrack is fantastic; it boasts one of the most epic scores I’ve ever heard.”

Team X-Box: “The same orchestral movements and passages found in epic films can be found in Blazing Angels. The soundtrack is straight Hollywood and may even remind some gamers of the epic Pearl Harbor. The orchestra ebbs and flows with the action, which is particularly well executed in the Campaigns. Most will appreciate the professional string, woodwind, and brass work thrown down during historical missions and the accompanying load screens.”

Gamer’s Edge: “Most WWII games manage to put together a fine instrumental soundtrack – Blazing Angels is no exception. Its sweeping music ranges from slower, more mellow music to fast-paced, high intensity tracks that keep you interested.”

IGN: “The sound in Blazing Angels is easily one of the highlights of the game, [with] a solid cinematic score.”

About.com: “Blazing Angels has…the epic orchestral music you expect from a WWII game.”

Game Zone: “The sound effects and music from the game are really outstanding. The music…makes players feel that they are really in the middle of a war. It moves you to want to continue fighting your way through for survival.”

videogames.co.nz: “Oddly enough, the sound manages to outshine the visuals. The action-paced orchestral music is appropriate to the WWII era and succeeds in setting the right mood.”

Gamebiz: “The sound effects and music from the game are really outstanding.”

Gaming Horizon: “The sound in the game is another huge success for Ubisoft. Overall the effects really put you in the experience. Add to that the outstanding background music and it is a solid presentation.”

Dreamstation: “All of this action is also accompanied with a well-done soundtrack [that] has the patented military orchestral music that sounds dramatic and gets you into the World War II historic battle mood. If you have seen any WWII or military movies, then you know what type of soundtrack to expect.”


Reviews for Gauntlet: Seven Sorrows:

Gamerfeed: “The game is backed by a great score that captures the drama of a title such as this.”

Gamezone: “The soundtrack just works beautifully with the game’s action. The game’s score is definitely a highlight and it’s wonderfully cinematic.”

IGN: “Impressive cinematic score…”

Team X-Box: “A real symphony appears to have done the soundtrack, which is very much like Lord of the Rings.”


Reviews for ZATHURA:

TeamXbox: “One highlight is the music, which stands out in the game. What could have been synthesized tracks played over and over is a score that takes the game to a larger scale.”

Gamespot: “The soundtrack…makes this feel like an epic adventure.”

Bonusstage.com “The score matches the same tone as the film with great detail – the quality is quite impressive.”

Cheat Code Central: “The music is surprisingly good. The music and voice acting are the best parts of Zathura in terms of production values.”

Gamerankings.com: “As for sound, this is the best aspect of the game. There’s a great score that fits each fight scene.”

VGPub “I liked the musical score that appropriately changes with the pace of gameplay. It seems like it came straight from the movie.”

IGN: “The music is the best aspect of the game…”

X-Box Advanced: “Great music that fits the overall theme of the game and the action. The music is a strong point in the game…enjoyable to listen to and adds greatly to the action and story moments.”

Reviews for King Arthur:

Gamespot: “The soundtrack is simply brilliant. I’ve got to admit, I really thought it was from the movie. The game uses its score extremely well, and the flow of the music is perfectly suited to each battle situation.”

Team Xbox: “King Arthur’s soundtrack is very well constructed, as it was composed by renowned composer Rod Abernethy and his studio, Rednote Audio. While the actual theatrical soundtrack is not a part of the game, Rednote has done a great job of creating original music that feels much like an extension of the film rather than independent music based upon the score.”

IGN: “The top-notch music, fully orchestrated, sounds crisp and clear.”

Gaming Age: ”...a brilliantly orchestrated score captures the mood. From the gripping battle scenes, to the peaceful serene, you will become captivated by the soundtrack as it is one of Arthur’s shining points.”

Microsift Gamerfeed: “Sound is excellent, with a great score to fit each fight scene.”


Reviews for The Hobbit:

IGN: “On top of everything else, the music soundtrack in the game is fantastic. It’s orchestrated, wholly atmospheric, and varied. The scores provide a mixture of soft, delicate backgrounds that enrich the mood of the locales and big, banging music that successfully drives home accomplishments. If more developers took the time to implement soundtracks like this the world would be a better place.”

GameZone: “When you have a composing team like Rednote Audio working for you, you’re guaranteed to get a great soundtrack. The musical score is wonderful, and the voice acting is solid. The musical score really embraces the mood of the game, and underscores each location rather well.”

PlanetGameCube: “Great music. The excellent soundtrack includes pleasant Celtic melodies and haunting atmospheric tracks; many pieces were recorded with a full orchestra and/or real acoustic instruments.”

TeamXBox/Editors Choice: “Gamers will be able to close their eyes and listen to one of the more potent soundtracks when The Hobbit is in the tray. The original music is intense.”

Gamespot: “The musical score usually relies on an underplayed percussion track as you hop about on platforms and sneak your way past various trolls and elves, though it will shift to a fuller, more dangerous-sounding instrumentation when you’re engaged in combat, or it will swell to a symphonic crescendo when you complete a mission task.”

PC Gameworld: “The game’s audio is impressive…add impressive acting with a lush musical score, and the Hobbit is an audio treat.”

GameSpy: “The music hits the right adventure notes.”

Reviews for Rise Of The Kasai:

The Armchair Empire: “Great music floats through the game, having a heavy Eastern tribal flavor, and really helps create a great game environment.”

Gamespy: “As far as sights and sounds go, this game is superior. The music is excellent…the Maori-inspired tribal music helped pull me into the game.”

G4 Videogame TV: “A rich, atmospheric sound…”

Gamespot: “The audio in Rise Of The Kasai is mostly quite enjoyable…the soundtrack is well-produced and fits perfectly into the context of the game.”

Other Reviews:

The Sims Bustin’ Out/The Armchair Empire: ”...the wonderful music and patented Simlish language interaction between Sims creates a great overall gaming package.”

The Sims Bustin’ Out/Gamenikki.com: “Unlike past Sims, Bustin’ Out actually gives you a reason to buy a stereo in the game and turn it on. There’s rockin’ techno and some hilarious Sim gibberish hip-hop.”

The Sims Bustin’ Out/Gamespot: ”...it features a great deal of all-new simlish voice-over, as well as a fantastic, all-new soundtrack consisting of popular modern music types like hip-hop, pop, and rock music.”

War & Warriors-Joan Of Arc Game Chronicles Magazine: “The music accompanying Joan’s adventure is quite enchanting…highly recommended.”

War & Warriors-Joan Of Arc/Entertainment Depot: “The music is fantastic and really lends to the battle mood the game strives to accomplish.”

War & Warriors-Joan Of Arc/Gamespot: “There’s some excellent music in the game that captures the bombastic tones found in Hollywood movies such as Gladiator.”

War & Warriors-Joan Of Arc/The Adrenaline Vault:
 “5 out of 5 stars. The music in Joan of Arc is the real surprise; it’s top notch. It’s all period orchestral pieces with a single, lonely cello when there is no action and a revved up, pulse pounding arrangement when you’re engaging the enemy. It’s a great addition to the game.”

War & Warriors-Joan Of Arc/Gaming Horizon: “Few things are cooler than intense music and the sounds of a medieval battlefield coming through in surround sound.”

Wild Wild West: The Steel Assassin/The Adrenaline Vault: “Wild Wild West uses Elmer Bernstein’s excellent music from the movie, and it contributes substantially to the excitement of the gameplay. It is a full orchestral score with high production values. The rousing soundtrack has epic overtones to it. 4.5 stars out of 5.”

Wild Wild West: The Steel Assassin/IGN: “In the sound department, WWW scores big…the music has a very cinematic quality, not just in terms of style but also in terms of production.”

SHINOBI/Gamespot: “The biggest bright spot is the game’s audio. The tracks are done in an overdramatic style that is reminiscent of old-fashioned samurai film music. Additionally, the music lacks the tinny aspect that seems to plague so many other GBA games, and the bass and stereo separation are ample enough to offer the illusion of a three-dimensional soundtrack. This level of quality extends to the game’s sound effects as well, which consist of a pleasing assortment of metallic impacts, meaty strikes, and ghostly moans.”

Dark Side Of The Moon/ActiveWin.com: ”...in Dark Side Of The Moon, the sound and music are superb, the orchestral type soundtrack wouldn’t sound out of place in a Science Fiction movie.”

Dark Side Of The Moon/Just Adventure: “Music, sound effects and acting receive a grade of A-.”

Dark Side Of The Moon/Gamezilla: “The original soundtrack is an unobtrusive and integral part of the story [and] enhances the experience of watching a movie. Excellently done.”

Dark Side Of The Moon/The Adrenaline Vault: “Another big plus, especially the opening and closing themes, which have the symphonic authority of a good movie score…ranking 4 stars out of 5.”

Dark Side Of The Moon/Intelligamer: “And like a movie or television show, something this game is more like than many adventure games, the musical score is used to build the mood and highlight key points in the game. I thought it fit in well, never drawing too much attention to itself, but adding just the right touch when needed.”

Gamezone Online feature on Rod Abernethy/7-19-04: ”...when you have a composing team like Rednote Audio working for you, you’re guaranteed to get a great soundtrack. Rednote Audio’s music has appeared in The Hobbit, Wars & Warriors: Joan of Arc and The Sims: Bustin’ Out. Soon you’ll hear them in King Arthur, Konami’s video game adaptation of the film of the same name. Next year their music will appear in Sony’s Rise of the Kasai, along with numerous games they cannot yet reveal.”

Music4Games interview with Hobbit audio director Marc Sheafgen: “Working with the folks at Rednote Audio was truly a gift. Their musical taste and talent went way above my expectations, and the final product shows. Always professional, even under the pressure cooker that is game crunch, they delivered the musical goods and then some. I will always have a place for them in my little black book of audio talent, and would not hesitate to call on them for future titles. Thanks guys for making my job just a little easier, and making this the best soundtrack I’ve been a part of to date!”

Music4Games feature of The Hobbit quoting Sierra producer Ken Embry: “Rednote Audio provided The Hobbit team with an expansive, fluid and beautiful audio canvas. Their work in Seattle with the symphony provided an epic musical backdrop for the game. RedNote’s professionalism and flexibility was a constant positive in the creative collaboration of game development.”

MIX magazine feature of The Hobbit quoting Rod Abernethy: “The gap is narrowing between audio for games and film/television production, but due to the nature of the beast, games will always require a different technical approach from films and other methods of audio production.”

GAMASUTRA feature on Rod Abernethy: “From the very beginning, we knew that the music scores for The Hobbit had to convey and re-enforce the Middle Earth world of this incredible Tolkien adventure. We composed and recorded over 75 minutes of acoustic and orchestral music, with expert guidance from Marc Scheafgen, audio director at Inevitable Entertainment, and composer Chance Thomas, Tolkien’s director of music.”