The IMED engine I mentioned above was used for all those titles except Batman & Robin. “So the games I collaborated on with Tim Follin were Batman Forever (SNES, Genesis, Gamegear, Gameboy), WWF Warzone (Gameboy), Bust-a-move 3 DX (Gameboy), Maya the Bee and Her Friends (Gameboy), Bust-a-move 4 (Gameboy) and Batman & Robin (PSX). I found out later from David Shea that there were actually timing errors in the code, which explained why the note timing and tempo never seemed to be as tight as other game sound tracks of the time. Sound effects were effectively simple sequences of a few MIDI notes. On Gameboy especially there was only room for a few music tracks and sound effects. It was also inefficient in terms of the size of that MIDI data in a sound bank on the target game cartridge. If you wanted vibrato or a portamento note bend, you'd have to create a separate sound with that pitch curve applied to it, not read from MIDI. There was no support for midi volume pedal data, for example. It worked exclusively with MIDI data, but was limited in what it could read or handle. You programmed your own instrument sounds on Genesis and on the 8 bit formats. IMED had a clean, intuitive windows-based interface and the tools were fun to use and experiment with. IMED was developed further by a programmer called David Shea after Ed left Probe. I don't remember if any code was shared between the two engines. Carl Muller had written the original single format SNES one, but a programmer called Ed (I forget his surname) wrote the multi-format IMED tool (hence 'I'm Ed'). It supported SNES, Genesis, Gameboy and Gamegear. “I created music and sound for the Gameboy at Probe using their proprietary 8/16 bit multi-format audio engine, IMED. Ever since July 2012, he has been working at Blizzard Entertainment as a senior sound designer. He then worked at Vigil Games since then until June 2012. He stayed there for three years until he left in October 2008. He closed it up four months later in December. That same time, he opened up his own studio to be a freelance composer. He also wrote music and sound for their games until October 1999, where he moved to the USA in Austin, Texas and started working for their Austin division. A little over a year later, he left Probe Software and joined Acclaim Studios London in 1994. His video game music career started in the December of 1992, when he worked for Probe Software as a composer and sound effects designer. Andy attended Plymouth University and Croydon College. Andy Brock is an English composer and sound designer who has been creating music and sound for video games ever since the 90's.
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