Composing For Video Games | All You Need To Know

Composing For Video Games | All You Need To Know

In this episode of Sounding Off I am joined by Brian Schmidt who is the founder and creator of GameSoundCon. He was the 2008 recipient of the Game Audio Network Guild’s Lifetime Achievement Award, Brian has been creating game music, sounds and cutting edge game sound technology since 1987.

November 7-8, 2017
Millennium Biltmore Hotel
Los Angeles, CA



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14 Comments so far

Ben NorrisPosted on3:19 pm - Nov 15, 2017

This is absolutely fascinating!  I first got into computer based music because when I was younger all I wanted to do was write music for computer games. I loved seeing those old arcade boards with the synthesiser chips – they evoke so much nostalgia from my youth. I'm still in awe of some of the music programming that was done back in the day, that had to be written to such precision in order to fit within tight memory restraints and take up minimal CPU cycles. It's great to hear from someone who's been there from the beginning and can share how each new technological advancement has shaped the approach over time.

Dan WentzPosted on3:31 pm - Nov 15, 2017

Awesome interview!

Kong KingPosted on4:25 pm - Nov 15, 2017

I thought this was about actually composing for video games. I guess i misread the title..

William LarkinPosted on4:26 pm - Nov 15, 2017

Very interesting thank you! Yes!

Matthew ForseePosted on5:16 pm - Nov 15, 2017

Thanks for another great video! Learning so much!

Le RippletoePosted on6:00 pm - Nov 15, 2017

These concepts just set my brain in a frenzy over the creative potential, imagining linear motives for different characters and villains and convertible counterpoint possibly combining them in permutation fugues during battles, with subsequent events in game leading to different episodes and so on. Ground bass forms such as passacaglia and chaconne are perfect for changing textures over time to increase or reduce tension also.

How About JackPosted on6:05 pm - Nov 15, 2017

hey Rick enjoyed the video. please look at my channel for endless comedy.

InkinthegrassPosted on6:23 pm - Nov 15, 2017

Thanks for this one! There's also a book written by Winifred Phillips called "A Composer's Guide To Game Music" that expands on a lot of things that Brian talked about here.

Are there any DAW's you would recommend for specifically composing game music?

FSBassPosted on6:43 pm - Nov 15, 2017

"Whatever you use, Pro Tools, Digital Performer, Sonar…"

Wow, as a Sonar user, I've got to say that it's not a DAW that we hear about that often. Mabe it's used a lot more in games than elsewhere ?

FSBassPosted on7:09 pm - Nov 15, 2017

Gotta love the "Jessica" explanation ! 😀
Fun and nice guy, also really interesting !
I was just about to post some ads to local AV and game design schools !

Carl PowellPosted on7:58 pm - Nov 15, 2017

Still dont understand what he uses to automate sound within the game. The part when he reffered to jeny inside the computer watching the game making automated choices as to when to change tracks. WHAT exactly is this program called?

Carl PowellPosted on8:03 pm - Nov 15, 2017

Thanks rick and brian

twocsiesPosted on8:18 pm - Nov 15, 2017

My guess is that video game music is more competitive and difficult to get into becoming a producer or engineer. That being said, there are a lot of indie games

ScatabrainPosted on8:38 pm - Nov 15, 2017

Yup. Vax, pdp 11 and punch cards in college. Count me as old too.

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