We sat down with Gavin Harrison[x.com], one of The Precinct's composers, to discuss the music in-game and how he got inspired to create such an impressive 80s inspired soundtrack.


https://steamproxy.net/steamstore/app/490110/The_Precinct/


I’ve always had an interest in music, from the days of sitting as a young child at my grandparents out of tune upright piano, through to playing guitar and keyboards (probably badly!) in many different pub bands in my late teens. I guess like all creative pursuits it was, and still is, something I feel compelled to do. I worked quite a few different jobs through my twenties, mostly admin-based but I was always writing music in the background, before finally being able to devote myself fully to composition and sound design in my early thirties - it’s never too late to start!


I’m generally self-taught in terms of playing the piano and guitar, along with the theory. I did however study music GCSE followed by music A-Level, which certainly when I studied was very much based in the classical sphere. I quite enjoyed delving into the compositional styles though and especially learning about some of the rules imposed on music of the time - and the effects of breaking them. Following on from A-Levels I went to a regional college to do an HND in music technology, of which I completed a year before heading to Australia!


Weirdly I’m not sure I can pinpoint an exact moment! I was always into the more electronic-based side of things when it came to music, being a fan of scores and albums by Vangelis and Jean Michel Jarre. In fact, I taught myself a fair amount from several Jarre songbooks! I do remember always reading the equipment listed within the album cover that had been used and wanting to own these fantastic machines that made the sounds I enjoyed.


I can! It was a Juno 106 which I bought around 12 years ago and I’m pleased to say I still use it currently.


That’s a tough one, it changes from day to day/project to project. I think in terms of sheer enjoyment it’s probably either the Roland SH101 or the Oberheim OB-Xa. I also have some vintage outboard and quite enjoy using the Eventide H3000 - you never know quite what sound is going to come out of it!


Lots! The main one being are they going to turn on and then work as they are meant to - though of course isn’t that part of the fun?! I’d say with synths, other than the aforementioned actually turning on, the main issue is making sure they are in tune before doing any recording. Also, some don’t have MIDI, which is something that allows them to connect easier to a computer for sequencing and playback. That being said, I tend to favour playing in live where I can - they are real instruments and as such I try and treat them that way. Other issues can be things like heat, again it can affect the tuning and something like the Prophet 5 which is over 40 years old doesn’t have the most efficient power supply, I’m always a bit concerned it may catch fire…

One of the other challenges is recall. Some of the older synths have no ability to store sounds, so you either have to make a note of all the settings you’ve used or make sure you don’t use that synth for any other sounds for the duration of writing a track. For this reason, I do tend to demo up sounds entirely in the box then once a track idea is approved, I’ll record all the sounds using the vintage gear.


I want to say varied but that feels a bit broad! I think like any career in any field there are various challenges along the way. From first starting out and having to establish yourself, to finding consistent work on interesting projects and then later on to balancing work as a freelancer with family life - all whilst maintaining a high quality in your work. I know it’s cliche, but I count myself lucky every day that I get to do what I do and consider myself fortunate to have worked with some great creative people.


Staying original, meeting deadlines and paying the mortgage! Seriously though, I think maintaining creative energy can sometimes be hard and one challenge, particularly when freelancing, is knowing how and when to take a break to recharge.


Having a piece recorded by an orchestra at Abbey Road has to be up there as a career highlight! Otherwise, I genuinely feel like reaching the end of a project successfully each time is always an achievement. It doesn’t matter how big or how small, doing work you’re proud of AND meeting a deadline is always something to be celebrated.


I tend to find these days this depends entirely on what my eldest is playing at the time! Currently, there’s a fair bit of Super Mario Maker 2 being played, plus he’s enjoying the original Sonic games - which suits me as I’ve discovered I’ve still got most of the muscle memory from when I originally played them!



I’ve thought this one over for a while and genuinely can’t pick three…some of my best gaming moments have come playing with friends, does that make them my favourite? I’m not sure…I’m going to pass!

About the project so far

I’m not sure it’s ever possible to compare projects, you’re generally working with different people each time, with different ways of working and each project has individual needs. That being said I’ve worked with Fallen Tree Games before and so I think we have a good established working relationship which I hope makes things run smoothly - it certainly does from my side.


I began by creating a playlist of songs I wanted to use as a basis for inspiration for The Precinct. I then took this list to the team and we chatted through each track and what elements would work and what perhaps might not fit so well in terms of the mood and atmosphere they were going for. There were also some pieces of music that had already been licensed for the game and I was able to use these as a good basis for the world we were created, after all my tracks have to work with what’s already there. Generally, I’m pulling elements from things like Miami Vice, Bladerunner, Beverly Hills Cop and even some John Carpenter - so quite the mix! However, it’s all about exactly what elements you’re pulling from each reference, for example, we’re not in a setting like Bladerunner in terms of space but I think there is a similar noir element.

The other thing I always try and keep in mind is whilst we are looking for the synthwave-styled sound, the track production still needs to sound current.


I think there’s a bit of both. I have a clear idea of perhaps the type of sounds or elements I want to use, but at the same time if a track takes off in a different direction and is still working then you’ve got to go with the idea regardless. Sometimes a song will have a clear path in terms of its arrangement, sometimes you’ll need to run through loads of different ideas to hit the one that works. That can be the fun part, turning on an old effects unit and jamming some synth lines or guitar parts through it, playing around with some settings and seeing what happens!

Generally, once I’ve got the initial arrangement of the song down and most of the ideas in, I tend to not work on it for a period of time so I can come back to it with fresh ears. Sometimes I end up deleting whole sections when I do work on a track again, or coming up with completely different parts. Ultimately I find that for me the only thing that makes a track stop evolving and being finished is a deadline - which is why I like having them!


That’s an easy one - writing in a style I enjoy and using ALL the synths! As mentioned before, there are also a lot of vintage outboard effects being used across all the tracks too which has been fantastic to do. I’m well aware that the quality of in-the-box synths and effects are superb, but there’s just something more hands-on and fun about using the real thing…

The Precinct is definitely a world with an aesthetic I’ve enjoyed writing for so far, the only downside has been not being able to write as much music as I have ideas for!


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