Dylan Beale

Dylan Beale

Gender Male Born Unknown Birth Place Nationality British   Aliases Dylan "Dogg" Beale Dylan "Doggie" Beale

Dylan Beale is a British composer and sound designer who worked at Bits Studios.

Beale started working in a record shop in Wood Green, selling garage and acid house records when a friend of his commissioned him and his housemates to compose the soundtrack to a planned Sega CD game based on Alien 3. While Beale didn't get the job, the developer was looking to fill in a new position for their audio department. Beale primarily worked as a sound effects designer for the company, but occasionally composed music. He worked at Bits until they were dissolved in 2008.

Beale is best known for the music score of Wolverine: Adamantium Rage for SNES; a song of which was sampled by Sir Pixilot.

Audio Development

SNES

Beale wrote the music for Wolverine: Adamantium Rage. The developers would give Beale concept art, and he would sequence the music on his AKAI S950.

Beale said this about the title music in a 2019 interview:

“

With Acclaim being American they really wanted guitar-driven rock music, heavy metal. “So one of the reasons the main theme [for Wolverine: Adamantium Rage] was very hip hop was kind of me trying to emulate a little bit of that West-coast hip-hop style as a way to appease the American publisher while still having that flavour that we like over here in the UK.

„

Beale had to also deal with the limitations of the SNES' music memory:

“

When I actually started work on [the score], I had the horrible realisation that the SNES cartridge only had a few megabytes of memory and the audio had to be done – including the code – in 200 kilobytes.

„

“

I convinced Shahid that we could make this work. We worked together right from the beginning, he wrote the code for this game and got the audio drivers to trigger the samples. So I would write all the music, take those samples, put them into a PC, crunch them down to absolutely the smallest we could get them without them sounding like utter, utter crap, and then get them from the PC into the SNES cartridge.

„

“

I think what made it different was that I had an incredibly small amount of sounds to choose from. When you’re writing music now you have every sample, a massive amount of memory – you can basically do anything. Whereas if you completely remove all of that stuff and go: "Right, you’ve only got these five sounds, write a piece of music", you have to do it in a very different way. You focus yourself very heavily on tricking the ears into making little delays using sequencers.

„

Gameography

Released	Title	Sample	Notes
1994-11-??	Wolverine: Adamantium Rage (SNES)
1994-??-??	Mary Shelley's Frankenstein (SNES)		Sound Effects
1994-??-??	Mary Shelley's Frankenstein (GEN)		Sound Effects
1994-??-??	No Escape (SNES)		Sound Effects
1994-??-??	No Escape (GEN)		Sound Effects
1995-??-??	The Itchy & Scratchy Game (SNES)		Sound Effects
1995-??-??	T-Mek (32X)		Audio Support
1996-??-??	Nihilst (DOS)		With Martin Wheeler.
1996-??-??	T-Mek (DOS)		Audio Conversion and new FX
2002-11-08	Die Hard: Vendetta (GC)		Additional Music with Giedrius Kudzinskas.
2003-10-28	Rogue Ops (PS2)		Additional Music and Sound Effects with Paul Weir.
2003-10-28	Rogue Ops (XBOX)		Additional Music and Sound Effects with Paul Weir.
2003-10-28	Rogue Ops (GC)		Additional Music and Sound Effects with Paul Weir.
Unreleased	The Itchy & Scratchy Game (GEN)		Sound Effects

Picture Gallery

• 

  2008, MobyGames.

Links

• mobygames.com/person/76558/dylan-beale/ - MobyGames.
• [1] - Fandom interview from 2019-03-16.