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Wikipedia

Frank Klepacki

January 01, 1970

Frank Klepacki (/kləˈpæki/; Polish: [klɛˈpat͡skʲi]) is an American musician and video game composer, best known for his work on the Command & Conquer series. Having learned to play drums as a child, he joined Westwood Studios as a composer when he was 17 years old. He has scored several games there, including the Lands of Lore series, Westwood Studios' Dune games, The Legend of Kyrandia series, Blade Runner, and the Command & Conquer series. His work in Command & Conquer: Red Alert won two awards.

Frank Klepacki
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

He lives in Las Vegas, where he has shaped a solo career and played and produced for several local bands.[1][2] His personal and band work touches upon several genres, including orchestral, rock music, hip hop music, soul music, and funk. He has dubbed the style of music he writes as "Rocktronic".[3] His work has appeared in various media, including the Spike TV program The Ultimate Fighter.

Klepacki is currently the audio director of Petroglyph Games, where he scored Star Wars: Empire at War.[4] Klepacki was contacted to score Command & Conquer 3: Tiberium Wars, but was too busy with Petroglyph to take the project, and declined to mention the offer.[5][6] Klepacki composed three songs for Command & Conquer: Red Alert 3 by EA Los Angeles. His solo CD entitled Viratia is packaged with a comic he helped produce.[6]

Early life and career edit

Klepacki was raised by a family of musicians of Polish and Italian descent who played on the Las Vegas strip.[7] He drew art as a hobby, but music prevailed in his early interests.[8] He received his first drumset at age 8 and began performing professionally by age 11.[9] Among his early influences were electronica and heavy metal groups, including Depeche Mode, Afrika Bambaataa, AC/DC, and Iron Maiden.[10] Seeking to master guitar, bass, and keyboards, he formed local bands and created a 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 BASIC on a Tandy 1000 and becoming interested in computer and video games, he applied for a job as a game tester at Westwood studios.[9] He submitted his demo tape—described as "an acoustic guitar song with electric guitar leads and keyboard strings, and raining sound effects"—to the company's audio director.[7][13] The growing company enlisted him as a composer for the NES port of DragonStrike and the computer game Eye of the Beholder II.[7] He later composed with MIDI sequencing for several other Dungeons & Dragons games.[14] In 1992, he helmed the audio of Dune II, attempting to complement the music of the original Dune.[15] He later noted that he pushed the sequencing program on his Amiga to the limit while scoring the game.[16] While working on Disney's The Lion King in 1994, he and the Westwood team were shown sketches of the unfinished feature film.[17] Film composer Hans Zimmer later praised Klepacki for reworking his scores.[18] After finishing the third entry into The Legend of Kyrandia series; 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 edit

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 Nine Inch Nails and Ministry,[11][14] which would supply the iconic industrial style found in the majority of the songs. He combined various elements of this music and added his own touch to create a unique sound. With the company's recent shift to 22 kHz audio, Klepacki composed with an ASR-10 sampler, a Roland S760 sampler, a Roland JD 990 synth module, and an electric guitar.[14] The first few songs he composed for Command & Conquer contained voice samples—including the notable pieces Act on Instinct and No Mercy (which featured wild declarations from Bill & Ted's Bogus Journey). The samples were later found to interfere with the game's spoken audio, and were replaced with versions lacking the voices, although the original versions (and several other unused pieces) can still be found on the DOS C&C and Covert Operations discs. Complete versions of the songs later appeared on the game's commercial soundtrack.[14] He would continue to sample clips from film and other media throughout his career, using a quote from The Brain from Planet Arous in the Yuri's Revenge soundtrack Brainfreeze, for example. Klepacki next composed instrumental pieces for Command & Conquer, drawing influences from orchestral, house, heavy metal, and hip hop music. For the credits, Klepacki wrote Airstrike, featuring a hook later used in Command & Conquer: Tiberian Sun for the Global Defense Initiative. Conversely, the Brotherhood of Nod ending used the song Destructible Times written by Klepacki's local band, I AM. Developers requested the song because it "reflected the war aspect and bad-ass vibe of Nod's side."[14] The C&C expansion pack The Covert Operations featured seven new ambient pieces, all of which were also included on the disc in high quality 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.[20] Upon listening, director Brett Sperry insisted this song be used as the signature theme of Command & Conquer: Red Alert.[14] Originally intended for use with the Brotherhood of Nod, it features militaristic samples—including marching, industrial sounds, and a commander shouting orders. Klepacki initially scored Red Alert with sci-fi camp in mind, but early songs were shelved. He switched gears to write gritty pieces, prompting the Red Alert team to expand upon the style of Command & Conquer.[21] In preparing to compose, Klepacki acquired new sample libraries for unique and strange sounds. Particular creative moods would result in a few songs at a time. He first wrote heavy songs like Workmen and Crush, then composed neutral, synthesizer-laden music, such as Vector and Roll Out. Klepacki scored Fogger and Mud, one of his personal favorites, before finishing with Militant Force and Radio 2. He took breaks from working to make cameo appearances as a Soviet soldier killed by Kane and an Allied commander in the 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 gold, precluding new versions.[21] These remixes later appeared on the unsuccessful Command & Conquer: Sole Survivor. Red Alert's soundtrack was voted best video game soundtrack of 1996 by PC Gamer and Gameslice magazines, defeating Trent Reznor's score for Quake.[18][21] Reviewers called it "fun to listen to" and "second to none."[23] As of 2005, Red Alert was listed in the 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 edit

 
Klepacki's last office at Westwood

In 1997, Klepacki scored a Blade Runner adaptation. Though Westwood acquired the rights to use the original film score by Vangelis, the company was not allowed access to the original master recordings, and Klepacki had to recreate the themes by ear.[20] Developers were satisfied by his attention to detail, feeling that his digital recreations sounded clearer than the originals.[20] In 1998, Klepacki composed for Dune 2000. He attempted to update the music from Dune II into "this non-blip stuff," and worked in homages to the original style of the films as composed by Toto.[15][20] Dune 2000 was panned by critics, though Klepacki's score was praised for adhering to the traditional Dune style.[26] Klepacki considered 2000 to be a more definitive work than Dune 2, which was constrained by software and hardware limitations.[20] He composed for Command & Conquer: Tiberian Sun with Jarrid Mendelson—with whom he would later collaborate on Emperor: Battle for Dune.[4] He began by writing Stomp, an energetic rock piece intended to recreate the effect of Hell March for the new game.[27] Coincidentally, one of the trailers for Command and Conquer 3 featured 'Stomp' as the soundtrack. Westwood instead wanted Tiberian Sun to feature darker, more moody music, and Stomp was shelved in favor of the current sound. Bereft of ideas due to the stark change in direction, Klepacki asked Mendelson to collaborate; he regards tracks they both worked on as the best. Tiberian Sun ultimately featured dark, ambient techno music and ambient space music suited to the game's post-apocalyptic and futuristic setting.[28] Klepacki cited the piece "Mad Rap" as his favorite. An avid Star Wars fan, he enjoyed scoring 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 Lands of Lore III and Command & Conquer: Red Alert 2. Klepacki defined Red Alert 2's style with heavy metal guitar and fast-paced beats.[29] Klepacki scored the game with a Korg TR Rack, Novation Nova desktop, and Roland XV-5080.[30] Red Alert 2 included a remix of "Hell March". The return to high-energy songs was owed in part to fan criticism of Tiberian Sun.[15] Klepacki maintained the energetic style in Red Alert 2's expansion pack Yuri's Revenge. For Command & Conquer: Renegade—the next entry in the series—Klepacki tried to update the style of the original Command & Conquer by making it "hipper and more elaborate."[15] Several Command & Conquer mainstays appear as reworked versions, including Target (Mechanical Man), Industrial, Act on Instinct, and No Mercy. The main theme's melody comes from C&C 80's Mix, a piece composed for Covert Operations but scrapped before release.[31] Klepacki's last contribution to Westwood Studios was the music of Earth & Beyond, comprising four albums of material.[32] Acquired by Electronic Arts in 1998, Westwood was liquidated in 2002 and the remaining employees were relocated to 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 edit

Klepacki took a brief hiatus to work on solo albums, then joined Petroglyph Games as full-time audio director in 2004.[25] He prepared by becoming versed in the job's requirements and demands.[25] His first task was scoring Star Wars: Empire at War, Petroglyph's launch title; he also helped select voice actors.[35] A die-hard fan of the Star Wars franchise, Klepacki enjoyed complementing John Williams's style as he worked with sound effects used in the feature films.[18] He worked closely with programmers to ensure perfect aural functionality. Though most of the game's score is John Williams's work, Klepacki estimates that he contributed 20% original material. Apart from the main theme, he aimed to minimize his editing in order to retain the classic Star Wars sound.[18] He chiefly composed for new areas of the Star Wars universe only found in Empire at War. He calls his work on the game "the peak of my career,"[25] and felt he had spent his entire life grooming his abilities for that soundtrack.[16] As a perk of composing, he visited Skywalker Ranch and Industrial Light and Magic, and took pride in having his name associated with an official Star Wars product.[36][37]

 
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.[25] In attempting to compose this piece, he wrote several preliminary hooks that were later integrated into the game's battle themes.[38] He composed six pieces for the expansion total, including the finale theme. In line with the criminal theme of the game, Klepacki borrowed motifs and recreated the mood from scenes involving Jabba the Hutt in Return of the Jedi.[39] His score for the expansion pack was accepted upon first submission to LucasArts.[39] As Petroglyph's audio director, he also selected sound effects—a tricky process due to the issue of making the criminal faction's sounds a "little different, without straying too much from the original signature sounds."[38] Klepacki worked with LucasArts to select voice actors, and contributed his own talents to the role of IG-88 and other minor characters.[38] A blooper reel of his voice acting was released on Petroglyph's forums after the one-thousandth member registered.[40] Klepacki was contacted to score 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 Command & Conquer: Red Alert 3, including "The Red Menace", "Grinder 2", and "Hell March 3". Hell March 3 was recorded with the aid of a 4-piece rock band alongside the Skywalker Symphony Orchestra and Choir at the Skywalker Sound scoring stage; the choir also sang in Russian for an updated version of Grinder from Red Alert 2.[49] He remarked in 2008 that he would never grow tired of Hell March, and was thankful it had resonated with so many fans.[48] Around this time, he composed using 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 edit

 
Frank Klepacki at Magfest 2019 playing a drum set

Klepacki has also played in and produced albums for several Las Vegas bands. I AM's There's a Home is his first full-length CD appearance. The band featured Greg Greer on vocals, Rod Arnett on bass, Dan Ryan on guitar, and Klepacki on drums.[50] Formed from the rhythm section of local band Shatterbone, I AM released one album in 1995 and broke up.[50] Described as alternative progressive rock, the band's music drew influences from Tool and Soundgarden.[50] The song Destructible Times was used for the Brotherhood of Nod ending in the original Command & Conquer.[14] After the break-up, Klepacki joined Home Cookin', a ten-member ensemble which played funk and soul in the tradition of Tower of Power.[51] Founded in 1989, Home Cookin' commercially debuted with Mmm, Mmm, Mmm, in 1997 (which featured a number one hit) and released a second album (Pink in the Middle) in 2000 before disbanding following a tour in California.[52] Towards the end of its run, the band played at Quark's Bar in Star Trek: The Experience and at the Boston Grill and Bar.[53] The group sometimes opened shows with a four-member funk act named Junkfood.[54] Home Cookin' was popular by readers of Las Vegas Weekly, winning several awards over its history—including "Best Horns" in a band.[55] Klepacki boasted that turnout for the band at clubs was usually above four hundred people.[56] In 2003, he formed The Bitters, a trio composed of Klepacki, bassist Vinny Moncada, and guitarist Jeff Murphy. With a style described as metal and jazz fusion, the group has released one album as of August 2006.[2] Klepacki is also member to the group Mo Friction, supported by former Home Cookin' members. Their debut album will mark Klepacki's first outing as a band's lead 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 Awakening of Aggression and confirmed the music would be "heavy" and "hard-hitting."[6] When interviewed, Klepacki said that he channeled stress into the heavy music of the new album.[39] Aggression was released in October of the same year, and was made available on iTunes on 7 December. He filled the liner notes of the album with the names of several supportive fans who had purchased his music.[6] As of April 2007, he speculates that a new solo release will be ready by the end of the year.[11] After establishing recognition on Ultimate Fighter, Klepacki began scoring themes for 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 edit

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]

 
Image of Klepacki from Rocktronic (2004)

Klepacki runs a personal website featuring a biography, archived interviews, and a playlist of songs streamed in 128 kbit/s mp3. His music is also available from iTunes. As a Star Wars fan, he has extensively written about the film premieres of the last two prequels on his website.[64] He maintains an account at YouTube and has posted three videos of his work with other bands.[65] He is an ardent supporter of digital cinema, believing the medium to be the pinnacle of quality.[66] He has scored two short films, and won a CineVegas award for his work with Unreel Invasion.[67] Klepacki believes that the genre of video game music is more respected than it has ever been. He notes that complex and quality music comes at a higher cost, prompting certain producers to simply "get somebody who could cop the Hollywood sound" instead of nurturing original style.[16] When asked about his career low-point, he named 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 recording industry, he blames MTV—described as a "teenage reality show channel"—for putting a pretty face on music and destroying the independent valuation of actual sound.[13][68] Klepacki has declared pop music as having become the "largest farce in music history—soul-less, mechanical, and only made for the sole purpose of making the fastest dollar possible, with more emphasis on imagery than the music."[13] He's also criticized lip-synching and the repackaging of music genre through different labels—such as Nu metal for rock music and Neo soul for soul music.[68] He believes that signing a deal does not guarantee profits, and would rather keep his day job as audio director. These sentiments were echoed in a special feature on the band Home Cookin' in 2000—Klepacki said the group wanted to "work with a label, not for them."[69] Stating that he would not compromise his work for popularity, he believes that "the only artists that have any longevity are the ones that pioneer a movement—not follow one."[13] He enjoys working independently, as he does not have to "change...music for the sake of pop radio."[39] He champions the internet as a medium through which creative and original artists can be found. Klepacki believes it is the preferred avenue for music when compared to radio 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 edit

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 edit

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

Video game music edit

Band, film, and solo music edit

Commercial music edit

See also edit

References edit

  1. ^ . 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 . 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). . 944 Magazine. Archived from the original on 2 June 2016. Retrieved 27 July 2006.
  8. ^ a b Mattias Lundin (21 December 2003). . Gamingeye.com. Archived from the original on 28 September 2007. Retrieved 28 July 2006.
  9. ^ a b Earl Green (2001). . 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). . Twisted Outlook. Archived from the original on 29 September 2007. Retrieved 22 April 2007.
  12. ^ a b c d . 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). . 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). . 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.
  20. ^ a b c d e f g h i j k l Frank Klepacki (8 November 2008). "Interview of Frank Klepacki". Retrieved 15 June 2009.[dead link]
  21. ^ a b c Frank Klepacki. "COMMENTARY: Behind the Red Alert Soundtrack". frankklepacki.com. Retrieved 27 July 2006.
  22. ^ Frank Klepacki. "COMMENTARY: Frank's acting cameos". frankklepacki.com. Retrieved 28 July 2006.
  23. ^ Vince Broady (26 November 1996). . GameSpot. Archived from the original on 13 June 2006. Retrieved 23 August 2006.
  24. ^ Claire Folkard, ed. (2005). The Guinness Book of World Records. Bantam Books. ISBN 0-553-58810-9.
  25. ^ a b c d e f g h . Petroglyph Games. Archived from the original on 21 October 2006. Retrieved 27 October 2015.
  26. ^ Ron Dulin (3 December 1997). "Review of Dune 2000". GameSpot. Retrieved 23 August 2006.
  27. ^ a b c Frank Klepacki (15 May 2007). "COMMENTARY: Tiberian Sun". frankklepacki.com. Retrieved 4 June 2007.
  28. ^ The Logbook staff. . The Logbook. Archived from the original on 24 December 2007. Retrieved 28 July 2006.
  29. ^ The Logbook staff. . The Logbook. Archived from the original on 20 February 2012. Retrieved 28 July 2006.
  30. ^ a b c d e f . Westwood Infiltration. 2001. Archived from the original on 21 August 2016. Retrieved 28 August 2006.
  31. ^ Frank Klepacki. "Music / Track List / Info". frankklepacki.com. Retrieved 28 July 2006.
  32. ^ . Music4Games. 2002. Archived from the original on 24 February 2003. Retrieved 28 July 2006.
  33. ^ . MobyGames. Archived from the original on 12 October 2010. Retrieved 28 July 2006.
  34. ^ Frank Klepacki. "Frank and Joe at Dinner". Gamereplays.org. Retrieved 8 June 2007.
  35. ^ . Petroglyph Forums. Archived from the original on 1 October 2011. Retrieved 2 January 2007.
  36. ^ Pioneer Press (23 May 2007). "Fans share their Star Wars memories". Twin Cities. Retrieved 4 June 2007.
  37. ^ "The Readers Write: 'Star Wars' memories". Pittsburgh Post-Gazette. 25 May 2007. Retrieved 4 June 2007.
  38. ^ a b c Frank Klepacki (17 October 2006). "Star Wars: Empire at War: Forces of Corruption Designer Diary #5 – The Sounds of Corruption". GameSpot. Retrieved 2 January 2007.
  39. ^ a b c d . Music4Games. 5 December 2006. Archived from the original on 29 August 2007. Retrieved 2 January 2007.
  40. ^ . Petroglyph Games. 15 December 2006. Archived from the original on 1 October 2011. Retrieved 2 January 2007.
  41. ^ "Steve Jablonsky, IMDB entry". IMDb. Retrieved 19 December 2006.
  42. ^ "Bring Frank Klepacki back for the music". EA Forums. 24 April 2006. Retrieved 28 July 2006.[dead link]
  43. ^ Arts, Electronic (14 November 2018). "EA Reveals the Details of C&C Remastered". Electronic Arts Inc. Retrieved 4 December 2018.
  44. ^ a b . Petroglyph Games. 6 December 2006. Archived from the original on 1 October 2011. Retrieved 2 January 2007.
  45. ^ a b c d e f g h i "Universe at War: Earth Assault Designer Diary #5 – Alien Sound and Music Design". Gamespot.com. 2 November 2007. Retrieved 15 November 2007.
  46. ^ a b c Kevin Yu, Frank Klepacki (27 March 2007). . 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.
  48. ^ a b "Frank Klepacki – Exclusive Interview". 15 February 2008. Archived from the original on 20 May 2009. Retrieved 15 June 2009.
  49. ^ . 1 October 2008. Archived from the original on 3 October 2008. Retrieved 15 June 2009.
  50. ^ a b c "I AM". frankklepacki.com. Retrieved 25 August 2006.
  51. ^ Jeff Inman (23 December 1999). . Las Vegas Life. Archived from the original on 19 February 2003. Retrieved 28 August 2006.
  52. ^ Jeff Inman (30 November 2000). "Sound Feedback: R.I.P." Las Vegas Life. Retrieved 28 August 2006.[dead link]
  53. ^ Molly Brown (September 2000). . Las Vegas Life. Archived from the original on 21 August 2002. Retrieved 28 August 2006.
  54. ^ Jeff Inman (9 December 1999). . Las Vegas Life. Archived from the original on 24 December 2007. Retrieved 28 August 2006.
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  56. ^ Frank Klepacki (22 June 2000). . Las Vegas Weekly. Archived from the original on 5 January 2001. Retrieved 28 August 2006.
  57. ^ "Mo Friction". frankklepacki.com. Retrieved 28 July 2006.
  58. ^ Jay Semerad (2002). . 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. ^ . 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). . Cinevegas. Archived from the original on 19 February 2003. Retrieved 5 June 2009.
  62. ^ . Imperium Westwood. Archived from the original on 28 September 2007. Retrieved 26 August 2006.
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  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.
  67. ^ "Frank Klepacki: About Me". frankklepacki.com. Retrieved 27 July 2006.
  68. ^ a b c "COMMENTARY: Record Deals". frankklepacki.com. Retrieved 28 July 2006.
  69. ^ . 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. ^ . Petroglyph Games. Archived from the original on 1 October 2011. Retrieved 2 January 2007.
  72. ^ @petroglyphgames (7 February 2024). "Award-winning video game composer Frank Klepacki has been cooking for 9-Bit Armies" (Tweet) – via Twitter. [better source needed]
  73. ^ @FrankKlepacki (18 September 2023). "Happy to be part of the game Stormgate!" (Tweet) – via Twitter. [better source needed]
  74. ^ Allsop, Ken (1 October 2023). "Command and Conquer spiritual successor signs one of C&C's top talents". PCGamesN. Retrieved 20 April 2024.

External links edit

 
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  • Official website  

January 01, 1970
frank, klepacki, polish, klɛˈpat, skʲi, american, musician, video, game, composer, best, known, work, command, conquer, series, having, learned, play, drums, child, joined, westwood, studios, composer, when, years, scored, several, games, there, including, lan. Frank Klepacki k l e ˈ p ae k i Polish klɛˈpat skʲi is an American musician and video game composer best known for his work on the Command amp Conquer series Having learned to play drums as a child he joined Westwood Studios as a composer when he was 17 years old He has scored several games there including the Lands of Lore series Westwood Studios Dune games The Legend of Kyrandia series Blade Runner and the Command amp Conquer series His work in Command amp Conquer Red Alert won two awards Frank KlepackiKlepacki from his solo album Morphscape 2002 Background informationOriginLas Vegas Nevada USGenresIndustrial industrial metal post grunge alternative rock electronic funk thrash metal soul jazz fusion progressive rockOccupation s Video game music composer musicianInstrument s Guitar bass synthesizer drumsWebsiteFrankKlepacki com He lives in Las Vegas where he has shaped a solo career and played and produced for several local bands 1 2 His personal and band work touches upon several genres including orchestral rock music hip hop music soul music and funk He has dubbed the style of music he writes as Rocktronic 3 His work has appeared in various media including the Spike TV program The Ultimate Fighter Klepacki is currently the audio director of Petroglyph Games where he scored Star Wars Empire at War 4 Klepacki was contacted to score Command amp Conquer 3 Tiberium Wars but was too busy with Petroglyph to take the project and declined to mention the offer 5 6 Klepacki composed three songs for Command amp Conquer Red Alert 3 by EA Los Angeles His solo CD entitled Viratia is packaged with a comic he helped produce 6 Contents 1 Early life and career 1 1 Command and Conquer series 1 2 Later Westwood games 1 3 Petroglyph Games 1 4 Solo and band work 2 Work and beliefs 3 Frank Klepacki amp The Tiberian Sons 4 Works 4 1 Video game music 4 2 Band film and solo music 4 3 Commercial music 5 See also 6 References 7 External linksEarly life and career editKlepacki was raised by a family of musicians of Polish and Italian descent who played on the Las Vegas strip 7 He drew art as a hobby but music prevailed in his early interests 8 He received his first drumset at age 8 and began performing professionally by age 11 9 Among his early influences were electronica and heavy metal groups including Depeche Mode Afrika Bambaataa AC DC and Iron Maiden 10 Seeking to master guitar bass and keyboards he formed local bands and created a 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 BASIC on a Tandy 1000 and becoming interested in computer and video games he applied for a job as a game tester at Westwood studios 9 He submitted his demo tape described as an acoustic guitar song with electric guitar leads and keyboard strings and raining sound effects to the company s audio director 7 13 The growing company enlisted him as a composer for the NES port of DragonStrike and the computer game Eye of the Beholder II 7 He later composed with MIDI sequencing for several other Dungeons amp Dragons games 14 In 1992 he helmed the audio of Dune II attempting to complement the music of the original Dune 15 He later noted that he pushed the sequencing program on his Amiga to the limit while scoring the game 16 While working on Disney s The Lion King in 1994 he and the Westwood team were shown sketches of the unfinished feature film 17 Film composer Hans Zimmer later praised Klepacki for reworking his scores 18 After finishing the third entry into The Legend of Kyrandia series Malcolm s Revenge Frank Klepacki met with Westwood leaders to discuss the upcoming game Command amp Conquer the first in a series which would bring him wider fame and critical acclaim 14 Command and Conquer series edit In 1994 Klepacki met with Westwood Studios developers to discuss the soundtrack of the company s next project Command amp Conquer To define the game s style Klepacki listened to a number of bands including Nine Inch Nails and Ministry 11 14 which would supply the iconic industrial style found in the majority of the songs He combined various elements of this music and added his own touch to create a unique sound With the company s recent shift to 22 kHz audio Klepacki composed with an ASR 10 sampler a Roland S760 sampler a Roland JD 990 synth module and an electric guitar 14 The first few songs he composed for Command amp Conquer contained voice samples including the notable pieces Act on Instinct and No Mercy which featured wild declarations from Bill amp Ted s Bogus Journey The samples were later found to interfere with the game s spoken audio and were replaced with versions lacking the voices although the original versions and several other unused pieces can still be found on the DOS C amp C and Covert Operations discs Complete versions of the songs later appeared on the game s commercial soundtrack 14 He would continue to sample clips from film and other media throughout his career using a quote from The Brain from Planet Arous in the Yuri s Revenge soundtrack Brainfreeze for example Klepacki next composed instrumental pieces for Command amp Conquer drawing influences from orchestral house heavy metal and hip hop music For the credits Klepacki wrote Airstrike featuring a hook later used in Command amp Conquer Tiberian Sun for the Global Defense Initiative Conversely the Brotherhood of Nod ending used the song Destructible Times written by Klepacki s local band I AM Developers requested the song because it reflected the war aspect and bad ass vibe of Nod s side 14 The C amp C expansion pack The Covert Operations featured seven new ambient pieces all of which were also included on the disc in high quality 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 20 Upon listening director Brett Sperry insisted this song be used as the signature theme of Command amp Conquer Red Alert 14 Originally intended for use with the Brotherhood of Nod it features militaristic samples including marching industrial sounds and a commander shouting orders Klepacki initially scored Red Alert with sci fi camp in mind but early songs were shelved He switched gears to write gritty pieces prompting the Red Alert team to expand upon the style of Command amp Conquer 21 In preparing to compose Klepacki acquired new sample libraries for unique and strange sounds Particular creative moods would result in a few songs at a time He first wrote heavy songs like Workmen and Crush then composed neutral synthesizer laden music such as Vector and Roll Out Klepacki scored Fogger and Mud one of his personal favorites before finishing with Militant Force and Radio 2 He took breaks from working to make cameo appearances as a Soviet soldier killed by Kane and an Allied commander in the cut scenes of Red Alert He previously appeared as a Nod soldier and the voice of the commando in Command amp Conquer and would voice bit parts in future Westwood games 22 nbsp Frank Klepacki s Hell March source source 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 gold precluding new versions 21 These remixes later appeared on the unsuccessful Command amp Conquer Sole Survivor Red Alert s soundtrack was voted best video game soundtrack of 1996 by PC Gamer and Gameslicemagazines defeating Trent Reznor s score for Quake 18 21 Reviewers called it fun to listen to and second to none 23 As of 2005 Red Alert was listed in the 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 edit nbsp Klepacki s last office at Westwood In 1997 Klepacki scored a Blade Runner adaptation Though Westwood acquired the rights to use the original film score by Vangelis the company was not allowed access to the original master recordings and Klepacki had to recreate the themes by ear 20 Developers were satisfied by his attention to detail feeling that his digital recreations sounded clearer than the originals 20 In 1998 Klepacki composed for Dune 2000 He attempted to update the music from Dune II into this non blip stuff and worked in homages to the original style of the films as composed by Toto 15 20 Dune 2000 was panned by critics though Klepacki s score was praised for adhering to the traditional Dune style 26 Klepacki considered 2000 to be a more definitive work than Dune 2 which was constrained by software and hardware limitations 20 He composed for Command amp Conquer Tiberian Sun with Jarrid Mendelson with whom he would later collaborate on Emperor Battle for Dune 4 He began by writing Stomp an energetic rock piece intended to recreate the effect of Hell March for the new game 27 Coincidentally one of the trailers for Command and Conquer 3 featured Stomp as the soundtrack Westwood instead wanted Tiberian Sun to feature darker more moody music and Stomp was shelved in favor of the current sound Bereft of ideas due to the stark change in direction Klepacki asked Mendelson to collaborate he regards tracks they both worked on as the best Tiberian Sun ultimately featured dark ambient techno music and ambient space music suited to the game s post apocalyptic and futuristic setting 28 Klepacki cited the piece Mad Rap as his favorite An avid Star Wars fan he enjoyed scoring 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 amp Conquer Renegade 27 He next scored Lands of Lore III and Command amp Conquer Red Alert 2 Klepacki defined Red Alert 2 s style with heavy metal guitar and fast paced beats 29 Klepacki scored the game with a Korg TR Rack Novation Nova desktop and Roland XV 5080 30 Red Alert 2 included a remix of Hell March The return to high energy songs was owed in part to fan criticism of Tiberian Sun 15 Klepacki maintained the energetic style in Red Alert 2 s expansion pack Yuri s Revenge For Command amp Conquer Renegade the next entry in the series Klepacki tried to update the style of the original Command amp Conquer by making it hipper and more elaborate 15 Several Command amp Conquer mainstays appear as reworked versions including Target Mechanical Man Industrial Act on Instinct and No Mercy The main theme s melody comes from C amp C 80 s Mix a piece composed for Covert Operations but scrapped before release 31 Klepacki s last contribution to Westwood Studios was the music of Earth amp Beyond comprising four albums of material 32 Acquired by Electronic Arts in 1998 Westwood was liquidated in 2002 and the remaining employees were relocated to EA Los Angeles 33 Several Westwood founders left the company Though Klepacki offered to score Command amp 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 edit Klepacki took a brief hiatus to work on solo albums then joined Petroglyph Games as full time audio director in 2004 25 He prepared by becoming versed in the job s requirements and demands 25 His first task was scoring Star Wars Empire at War Petroglyph s launch title he also helped select voice actors 35 A die hard fan of the Star Wars franchise Klepacki enjoyed complementing John Williams s style as he worked with sound effects used in the feature films 18 He worked closely with programmers to ensure perfect aural functionality Though most of the game s score is John Williams s work Klepacki estimates that he contributed 20 original material Apart from the main theme he aimed to minimize his editing in order to retain the classic Star Wars sound 18 He chiefly composed for new areas of the Star Wars universe only found in Empire at War He calls his work on the game the peak of my career 25 and felt he had spent his entire life grooming his abilities for that soundtrack 16 As a perk of composing he visited Skywalker Ranch and Industrial Light and Magic and took pride in having his name associated with an official Star Wars product 36 37 nbsp 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 25 In attempting to compose this piece he wrote several preliminary hooks that were later integrated into the game s battle themes 38 He composed six pieces for the expansion total including the finale theme In line with the criminal theme of the game Klepacki borrowed motifs and recreated the mood from scenes involving Jabba the Hutt in Return of the Jedi 39 His score for the expansion pack was accepted upon first submission to LucasArts 39 As Petroglyph s audio director he also selected sound effects a tricky process due to the issue of making the criminal faction s sounds a little different without straying too much from the original signature sounds 38 Klepacki worked with LucasArts to select voice actors and contributed his own talents to the role of IG 88 and other minor characters 38 A blooper reel of his voice acting was released on Petroglyph s forums after the one thousandth member registered 40 Klepacki was contacted to score Command amp 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 amp C 3 s forums suggested that the audio team studied Klepacki s music and tried to recreate his style 42 Klepacki feels that Command amp 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 amp Conquer fans waiting for him to return to his roots and adrenaline pumping soundtrack style and suggested that they imagine my mindset when Command amp 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 Command amp Conquer Red Alert 3 including The Red Menace Grinder 2 and Hell March 3 Hell March 3 was recorded with the aid of a 4 piece rock band alongside the Skywalker Symphony Orchestra and Choir at the Skywalker Sound scoring stage the choir also sang in Russian for an updated version of Grinder from Red Alert 2 49 He remarked in 2008 that he would never grow tired of Hell March and was thankful it had resonated with so many fans 48 Around this time he composed using 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 edit nbsp Frank Klepacki at Magfest 2019 playing a drum set Klepacki has also played in and produced albums for several Las Vegas bands I AM s There s a Home is his first full length CD appearance The band featured Greg Greer on vocals Rod Arnett on bass Dan Ryan on guitar and Klepacki on drums 50 Formed from the rhythm section of local band Shatterbone I AM released one album in 1995 and broke up 50 Described as alternative progressive rock the band s music drew influences from Tool and Soundgarden 50 The song Destructible Times was used for the Brotherhood of Nod ending in the original Command amp Conquer 14 After the break up Klepacki joined Home Cookin a ten member ensemble which played funk and soul in the tradition of Tower of Power 51 Founded in 1989 Home Cookin commercially debuted with Mmm Mmm Mmm in 1997 which featured a number one hit and released a second album Pink in the Middle in 2000 before disbanding following a tour in California 52 Towards the end of its run the band played at Quark s Bar in Star Trek The Experience and at the Boston Grill and Bar 53 The group sometimes opened shows with a four member funk act named Junkfood 54 Home Cookin was popular by readers of Las Vegas Weekly winning several awards over its history including Best Horns in a band 55 Klepacki boasted that turnout for the band at clubs was usually above four hundred people 56 In 2003 he formed The Bitters a trio composed of Klepacki bassist Vinny Moncada and guitarist Jeff Murphy With a style described as metal and jazz fusion the group has released one album as of August 2006 2 Klepacki is also member to the group Mo Friction supported by former Home Cookin members Their debut album will mark Klepacki s first outing as a band s lead vocalist 57 nbsp Klepacki s Rocktronic source source 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 amp 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 amp 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 amp Conquer fans 59 Klepacki sought out specific samples and instruments used in the Command amp 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 Awakening of Aggression and confirmed the music would be heavy and hard hitting 6 When interviewed Klepacki said that he channeled stress into the heavy music of the new album 39 Aggression was released in October of the same year and was made available on iTunes on 7 December He filled the liner notes of the album with the names of several supportive fans who had purchased his music 6 As of April 2007 he speculates that a new solo release will be ready by the end of the year 11 After establishing recognition on Ultimate Fighter Klepacki began scoring themes for 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 editWhen 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 amp 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 nbsp Image of Klepacki from Rocktronic 2004 Klepacki runs a personal website featuring a biography archived interviews and a playlist of songs streamed in 128 kbit s mp3 His music is also available from iTunes As a Star Wars fan he has extensively written about the film premieres of the last two prequels on his website 64 He maintains an account at YouTube and has posted three videos of his work with other bands 65 He is an ardent supporter of digital cinema believing the medium to be the pinnacle of quality 66 He has scored two short films and won a CineVegas award for his work with Unreel Invasion 67 Klepacki believes that the genre of video game music is more respected than it has ever been He notes that complex and quality music comes at a higher cost prompting certain producers to simply get somebody who could cop the Hollywood sound instead of nurturing original style 16 When asked about his career low point he named 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 recording industry he blames MTV described as a teenage reality show channel for putting a pretty face on music and destroying the independent valuation of actual sound 13 68 Klepacki has declared pop music as having become the largest farce in music history soul less mechanical and only made for the sole purpose of making the fastest dollar possible with more emphasis on imagery than the music 13 He s also criticized lip synching and the repackaging of music genre through different labels such as Nu metal for rock music and Neo soul for soul music 68 He believes that signing a deal does not guarantee profits and would rather keep his day job as audio director These sentiments were echoed in a special feature on the band Home Cookin in 2000 Klepacki said the group wanted to work with a label not for them 69 Stating that he would not compromise his work for popularity he believes that the only artists that have any longevity are the ones that pioneer a movement not follow one 13 He enjoys working independently as he does not have to change music for the sake of pop radio 39 He champions the internet as a medium through which creative and original artists can be found Klepacki believes it is the preferred avenue for music when compared to radio 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 amp The Tiberian Sons editThe 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 amp The Tiberian Sons Celebrating 25 Years of Command amp Conquer for the remastered collection Works edit nbsp Klepacki at the Game Developers Conference 2019 as part of a Command amp Conquer retrospective panel Video game music edit Eye of the Beholder II Westwood Studios 1991 Dune II Westwood Studios 1992 Dungeons amp Dragons Warriors of the Eternal Sun Westwood Studios 1992 Order of the Griffon Westwood Studios 1992 DragonStrike Westwood Studios 1992 NES port only The Legend of Kyrandia Westwood Studios 1992 Lands of Lore The Throne of Chaos Westwood Studios 1993 The Legend of Kyrandia Hand of Fate Westwood Studios 1993 The Lion King Westwood Studios 1994 The Legend of Kyrandia Malcolm s Revenge Westwood Studios 1994 Young Merlin Westwood Studios 1994 Command amp Conquer Westwood Studios 1995 Monopoly Westwood Studios 1995 Command amp Conquer The Covert Operations Westwood Studios 1996 Command amp Conquer Red Alert Westwood Studios 1996 Command amp Conquer Red Alert Counterstrike Westwood Studios 1997 Command amp Conquer Red Alert The Aftermath Westwood Studios 1997 Lands of Lore Guardians of Destiny Westwood Studios 1997 Blade Runner Westwood Studios 1997 Command amp Conquer Red Alert Retaliation Westwood Studios 1998 Command amp Conquer Sole Survivor Westwood Studios 1998 Dune 2000 Westwood Studios 1998 Command amp Conquer Tiberian Sun Westwood Studios 1999 Lands of Lore III Westwood Studios 1999 Command amp Conquer Tiberian Sun Firestorm Westwood Studios 2000 Command amp Conquer Red Alert 2 Westwood Pacific 2000 Nox Westwood Studios 2000 Command amp Conquer Red Alert 2 Yuri s Revenge Westwood Pacific 2001 Emperor Battle for Dune Westwood Studios 2001 Pirates The Legend of Black Kat Westwood Studios 2001 Command amp Conquer Renegade Westwood Studios 2002 Earth amp Beyond Westwood Studios 2002 Star Wars Empire at War Petroglyph Games 2006 Star Wars Empire at War Forces of Corruption Petroglyph Games 2006 Universe at War Earth Assault Petroglyph Games 2007 Command amp Conquer Red Alert 3 EA Los Angeles 2008 Command amp Conquer Red Alert 3 Uprising EA Los Angeles 2009 Panzer General Allied Assault Petroglyph Games 2009 Guardians of Graxia Petroglyph Games 2010 Mytheon Petroglyph Games True Games 2011 Rise of Immortals Petroglyph Games 2011 Battle for Graxia Petroglyph Games 2012 Coin a Phrase Petroglyph Games 2013 End of Nations Petroglyph Games Trion Worlds cancelled Grey Goo Petroglyph Games 2015 8 Bit Armies Petroglyph Games 2016 8 Bit Hordes Petroglyph Games 2016 8 Bit Invaders Petroglyph Games 2016 Lethal League Blaze Team Reptile 2018 Conan Unconquered Petroglyph Games 2019 Command amp Conquer Remastered Collection Petroglyph Games EA 2020 Modern Warships Artstorm FZE 2022 9 Bit Armies A Bit Too Far Petroglyph Games 2024 72 Stormgate Frost Giant Studios TBA 73 Earthbreakers Petroglyph Games TBA Tempest Rising Slipgate Ironworks 2B Games TBA 74 Band film and solo music edit There s a Home I AM 1995 Mmm Mmm Mmm Home Cookin 1997 Unreel Invasion short film 1999 Pink in the Middle Home Cookin 2000 Essence of the Force short film 2002 Morphscape 2002 Rocktronic 2004 Virtual Control 2005 The Bitters The Bitters 2006 Awakening of Aggression 2006 Grudgement Day The Bitters 2008 Infiltrator 2009 Viratia 2009 Conquering 20 Years 2012 Digital Frontiers 2016 Game On Tina Guo 2017 Transform 2018 Coded Number 2020 Commercial music edit MTV 1997 Cupid abc 2000 Miller Genuine Draft 2001 Ultimate Fighting Championship Pay per view Fox Sports 2003 2006 The Ultimate Fighter Spike TV 2005 2006 Ultimate Fight Night Spike TV 2005 2006 Amp d Mobile Spike TV 2005 2006 Inside the MMA HDNet 2007 HDNet Fights HDNet 2007 See also editMusic of the Command amp Conquer series Universe at War Earth Assault soundtrackReferences edit Yo Cookie Las Vegas Life March 2000 Archived from the original on 24 December 2007 Retrieved 28 August 2006 a b The Bitters Retrieved 28 August 2006 a b Frank Klepacki COMMENTARY Creating Rocktronic frankklepacki com Retrieved 22 April 2007 a b MobyGames Frank Klepacki Rap Sheet MobyGames Retrieved 28 August 2006 a b PCGP Episode 80 Four Score PCGamerPodcast com 26 April 2007 Archived from the original on 5 May 2007 Retrieved 5 May 2007 a b c d e f g h News frankklepacki com Retrieved 5 June 2006 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 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 a b Earl Green 2001 Interview with Frank Klepacki The Logbook Archived from the original on 24 December 2007 Retrieved 27 July 2006 a b COMMENTARY What is a Morphscape frankklepacki com Retrieved 28 July 2006 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 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 a b c d e f g h i j Klepacki Frank October 2007 Interview with Frank Klepacki Gameplay ITC Publishing a b c d e f g h i Frank Klepacki COMMENTARY Behind the C amp C Soundtrack frankklepacki com Retrieved 27 July 2006 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 a b c d e Gamers With Jobs Radio Interview with Frank Klepacki Gamers with Jobs 21 March 2006 Retrieved 22 August 2006 a b Frank Klepacki Interview FAQ frankklepacki com Retrieved 27 July 2006 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 a href Template Cite web html title Template Cite web cite web a CS1 maint numeric names authors list link Westwood Studios 2000 The Westwood Studios Catalog Westwood Studios a b c d e f g h i j k l Frank Klepacki 8 November 2008 Interview of Frank Klepacki Retrieved 15 June 2009 dead link a b c Frank Klepacki COMMENTARY Behind the Red Alert Soundtrack frankklepacki com Retrieved 27 July 2006 Frank Klepacki COMMENTARY Frank s acting cameos frankklepacki com Retrieved 28 July 2006 Vince Broady 26 November 1996 Review of Red Alert GameSpot Archived from the original on 13 June 2006 Retrieved 23 August 2006 Claire Folkard ed 2005 The Guinness Book of World Records Bantam Books ISBN 0 553 58810 9 a b c d e f g h Frank Klepacki Podcast Petroglyph Games Archived from the original on 21 October 2006 Retrieved 27 October 2015 Ron Dulin 3 December 1997 Review of Dune 2000 GameSpot Retrieved 23 August 2006 a b c Frank Klepacki 15 May 2007 COMMENTARY Tiberian Sun frankklepacki com Retrieved 4 June 2007 The Logbook staff Review of Command amp Conquer Tiberian Sun The Logbook Archived from the original on 24 December 2007 Retrieved 28 July 2006 The Logbook staff Review of Command amp Conquer Red Alert 2 The Logbook Archived from the original on 20 February 2012 Retrieved 28 July 2006 a b c d e f Frank Klepacki Interview Yuri s Revenge Westwood Infiltration 2001 Archived from the original on 21 August 2016 Retrieved 28 August 2006 Frank Klepacki Music Track List Info frankklepacki com Retrieved 28 July 2006 Interview with Frank Klepacki Music4Games 2002 Archived from the original on 24 February 2003 Retrieved 28 July 2006 History for Westwood Studios MobyGames Archived from the original on 12 October 2010 Retrieved 28 July 2006 Frank Klepacki Frank and Joe at Dinner Gamereplays org Retrieved 8 June 2007 Some questions for everyone at Petroglyph Petroglyph Forums Archived from the original on 1 October 2011 Retrieved 2 January 2007 Pioneer Press 23 May 2007 Fans share their Star Wars memories Twin Cities Retrieved 4 June 2007 The Readers Write Star Wars memories Pittsburgh Post Gazette 25 May 2007 Retrieved 4 June 2007 a b c Frank Klepacki 17 October 2006 Star Wars Empire at War Forces of Corruption Designer Diary 5 The Sounds of Corruption GameSpot Retrieved 2 January 2007 a b c d Star Wars Empire at War Forces of Corruption Interview with Audio Director and Composer Frank Klepacki Music4Games 5 December 2006 Archived from the original on 29 August 2007 Retrieved 2 January 2007 Frank s FOC Bloopers Petroglyph Games 15 December 2006 Archived from the original on 1 October 2011 Retrieved 2 January 2007 Steve Jablonsky IMDB entry IMDb Retrieved 19 December 2006 Bring Frank Klepacki back for the music EA Forums 24 April 2006 Retrieved 28 July 2006 dead link Arts Electronic 14 November 2018 EA Reveals the Details of C amp C Remastered Electronic Arts Inc Retrieved 4 December 2018 a b Frank s Music for P 02 Petroglyph Games 6 December 2006 Archived from the original on 1 October 2011 Retrieved 2 January 2007 a b c d e f g h i Universe at War Earth Assault Designer Diary 5 Alien Sound and Music Design Gamespot com 2 November 2007 Retrieved 15 November 2007 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 6th G A N G Awards Retrieved 15 June 2009 a b Frank Klepacki Exclusive Interview 15 February 2008 Archived from the original on 20 May 2009 Retrieved 15 June 2009 Interview with Command amp Conquer 3 Music Team 1 October 2008 Archived from the original on 3 October 2008 Retrieved 15 June 2009 a b c I AM frankklepacki com Retrieved 25 August 2006 Jeff Inman 23 December 1999 Home Cookin Pink in the Middle Las Vegas Life Archived from the original on 19 February 2003 Retrieved 28 August 2006 Jeff Inman 30 November 2000 Sound Feedback R I P Las Vegas Life Retrieved 28 August 2006 dead link Molly Brown September 2000 Show Review Funk Soul Brethren Las Vegas Life Archived from the original on 21 August 2002 Retrieved 28 August 2006 Jeff Inman 9 December 1999 Pink Funk Las Vegas Life Archived from the original on 24 December 2007 Retrieved 28 August 2006 Top of the Pops Las Vegas Life 8 June 2000 Archived from the original on 17 October 2006 Retrieved 28 August 2006 Frank Klepacki 22 June 2000 Letters to the Editor Reality Check Las Vegas Weekly Archived from the original on 5 January 2001 Retrieved 28 August 2006 Mo Friction frankklepacki com Retrieved 28 July 2006 Jay Semerad 2002 Interview with Frank Klepacki Music4Games Archived from the original on 27 December 2003 Retrieved 28 July 2006 a b Personal Projects frankklepacki com Retrieved 28 July 2006 STORE WINNERS Guitar Center Drum Off 10 October 2007 Archived from the original on 12 November 2007 Retrieved 15 November 2007 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 Interview with Frank Klepacki Imperium Westwood Archived from the original on 28 September 2007 Retrieved 26 August 2006 Video Game Soundtrack Report 1 0 Music4Games Archived from the original on 7 November 2002 Retrieved 28 July 2006 COMMENTARY Frank at Star Wars Celebration 2 frankklepacki com Retrieved 28 July 2006 Youtube Flyrecords1 YouTube 2006 Retrieved 2 January 2007 COMMENTARY Digital Cinema frankklepacki com Retrieved 28 July 2006 Frank Klepacki About Me frankklepacki com Retrieved 27 July 2006 a b c COMMENTARY Record Deals frankklepacki com Retrieved 28 July 2006 Sonic Garden Home Cookin Sonic Garden Archived from the original on 25 August 2005 Retrieved 25 August 2006 John Przybys 12 October 2000 HIGH TECH Easy Access Las Vegas Review Journal Where My Rockers At Petroglyph Games Archived from the original on 1 October 2011 Retrieved 2 January 2007 petroglyphgames 7 February 2024 Award winning video game composer Frank Klepacki has been cooking for 9 Bit Armies Tweet via Twitter better source needed FrankKlepacki 18 September 2023 Happy to be part of the game Stormgate Tweet via Twitter better source needed Allsop Ken 1 October 2023 Command and Conquer spiritual successor signs one of C amp C s top talents PCGamesN Retrieved 20 April 2024 External links edit nbsp Wikimedia Commons has media related to Frank Klepacki nbsp Wikiquote has quotations related to Frank Klepacki Official website nbsp Retrieved from https en wikipedia org w index php title Frank Klepacki amp oldid 1219936331, wikipedia, wiki, book, books, library,

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