Chessington World of Adventures Resort· 2020
Tomb Blaster
The complete ride soundtrack for Chessington's interactive dark ride — and the voice of the High Priest who welcomes you into the tomb.
- Composer
- Sound Designer
Theme parks & attractions · 42 projects
Music for theme parks and attractions.
Ride soundtracks, land and area music, queue and station audio and the score a guest hears from the car park onwards. Written for a specific room, a specific track length and a crowd that is moving.
What it covers
Every sound a park needs.
- Ride soundtracks
- A complete score for the length of the ride, written as one continuous piece and then broken into the scene-by-scene cues the ride system triggers.Tomb Blaster case study
- Land and area music
- An identity for a themed area that holds up on a loop all day — rainforest, pirate bay, Egyptian temple, Shanghai street.Chessington Area Audio case study
- Queue, station and dispatch
- The audio either side of the ride itself: a queue bed that sets up the theme and short dispatch cues timed precisely to a ride system.Thorpe Park Area Audio case study
- Park-wide and admissions audio
- The music a guest meets before any attraction does — admissions, entrance and the through-composed suites that give a park one voice.Oakwood Theme Park case study
- Seasonal re-scores
- The same park in a different key. Christmas audio for a street and a grotto, scored room by room so that walking between them is an audible transition.Alton Towers Resort case study
- Fireworks and projection spectaculars
- A finale scored to pyrotechnics and projection mapping together, where every cue point has to exist twice — locked to frame as well as to fuse.Oakwood After Dark case study
- Jingles and brand audio
- Words and music for the attraction's own advertising, written by the person who wrote the attraction's score.Bristol Aquarium case study
How it is written
The part that is not obvious from the outside.
The work
42 projects you can hear.
Hear it
The work, playing.
In their words
“At last I've found a talented musical composer and arranger who really understands the theme park industry. Rides and shows have very special and unique requirements, and Nick is able to produce music tailored specifically to those requirements.”
“Nick was able to work with us very closely to create suitable audio. He was pro-active and adapted very easily to what we needed. Nick created a number of different audio clips, sound effects and theme tunes very professionally and perfectly suited to our brand, very easy to work with.”
“Nick composed and delivered a bespoke audio package for the park covering a wide range of sound worlds and styles to match our eclectic range of family attractions. He worked closely with our team of managers to ensure the final product matched our brand and vision.”
“Nick is more than just a great composer; he's a great composer who loves musical theater and theme parks. His passionate understanding of their respective "musical storytelling" conventions always shows in his fantastic work.”
“Nick has been a pleasure to work with, applying the brief and consequential feedback with absolute precision. Nick has been great at keeping this project moving when I have been otherwise distracted with other work and required absolutely nothing except thoughts and feedback from me. Thank you Nick for putting together a catchy, fun and creative piece for Bristol Aquarium!”
Commission
Tell Nick what it is and when it opens.
The most useful first message says what the attraction is, roughly how long the audio needs to run and the date it has to be finished by.