Check it out our new course right here - here: thinkspace.ac.uk/courses/how-to-write-video-game-music/ How To Write Video Game Music is our brand new course and we are super excited about it! If you ever wanted to get started in video game music or you are looking for a new musical challenge this course will give you the essential skills every video games composer needs. The course includes our new interactive video technology, MinusONE scoring projects and a vibrant and supportive Discord Community where you can share your work and get feedback from your peers.
The amount of work this man puts into describing specific musical concepts for free is mind boggling! Thank you so much for making these amazing videos!
Funny story 😂: I looked for some tips on composing a videogame for a client. This video was the one which seemed to be great to watch. And then, I saw your face and I was like: "hmmm, this person is very familiar to me but I don't remember who exactly". And when I finally reached the end of video, I was like :" wow, great explainer, he is very familiar to me. There was this great and aged-person I considered as Gandalf for music composer and his name was Guy Michelmore. However, this one have a beard. Guy didn't had a beard at that time" When I was going to look for another video, I just looked at the OP name and it ta-da it is Guy Michelmore 😂 I missed your Easy-Go-Ness, I feel I belong with you humably speaking. Thank you for the video Guy! Great work
This feels like it should be paid content, you wouldn't get quality like this from any college lecturer. I feel inspired to try and compose myself now. Absolutely phenomenal demonstration with a great balance of interactivity as well as tons of useful information. Love it!
Rah this video editing is SERIOUS. 10/10!! Great explanation of gaming topic. I like how you was inside the 🎮 . I could visualise what you was speaking about
I’ve been playing The Last Of Us 2 recently - and was tuning into just this kind of thing, the way the music is cued at certain points, the way it fades, changes, is used to foreshadow - and have been intrigued by how well the score responds and interacts with my choices. So interesting!
Guy, I'm learning C# and Unity, I'm already a musician with a degree in Music, I'd love to take the making music for video games course cos it includes F Mod, which is something I can incorporate within Unity.
Interesting video. My dream job is somewhere in this space, either as a composer or a sound designer (I'm already a programmer so skillset wise I could either).
Thanks so much for this great informative video. One of the tips that you gave is going to solve a problem I have with my current project. Absolutely love watching all of your stuff.
Great tutorial: though one thing I don’t get about your creating seamless loops tutorial is how you manage to not listen to the tail the first time you play the loop. I mean you should listen to the loop tail only when it’s playing from the second time onwards.
Let's address the problem of "not knowing" how long the player will stay at one spot (lets simplify this and not introduce camera rotation and movement, say its only about the music). Yes, layers of music can help, but there is actualy control in middle ware that can for instance, fade in as you approach one spot, then if a certain event is unfolded, play another track, and in case of player pending in place , there is an issue of content and time - content is solved with generative audio, while time is sorted with seemless crossovers between tracks. There are multiple ways to do this and it differs depending on the game size and tech specs. You are not going to do the same thing for a console game and a streaming mobile game. Fmod Studio is a tool that can sort all your music sound issues. Lear it inside out, and it will pay out. If you want to work in the games industry, you will be asked to use middleware, be it fmod or wwise or smt similar.
This is great advice Guy, do you ever have to deal with software like FMOD or do you let the developers do that part after you've made the vertical layers?
Hi Guy, I love your videos. Maybe a silly question but when I write my orchestral piece or a movie trailer using midi, albion one as an example, why would I need to bounce it to a WAV file and continue working on the piece? If I wrote a whole piece using the BBC Core or Albion one and add a vocal I can just bounce the whole mix as it is right? Why I see so many professionals bounced all the midi tracks to audio files?
You can work either way but in my experience mixing from audio is a lot easier and if you are sending the mix to someone else to mix then you are going to want to bounce the audio out
I appreciate Guy Michelmore and what he does for the music community so much, and intros like this remind me of why I originally subscribed all those years ago. ❤️
This is absolutely amazing! Very very creative and informative! But I think one of the challenges is to put down a great pieces which doesn't suck or get very boring on lots of repetitions!!
This is great ! Though being a game composer specifically often also requires a bit of knowledge of the tools used to implement the music into the game - usually FMOD or Wwise - and actually playing the game to understand it and the kinds of interactions one may have in it is also beneficial.
Absolutely - as i say at the end its like learning of the rules of chess not becoming a grand master. This is the grammer and synbtax - now go write a novel
7:46 A great example is the music in Mirrors Edge. In that game the composer named Solar Fields really added lots of horizon movement so that the soundtrack feels alive. Which makes one song easily around 10 minutes long. How? Well Solar Fields divided the pieces in certain blocks like Guy talks about in this video: The first one is just an ambiance, the root of the song like Guy made at 2:45. From there he starts adding and subtracting things so that the song gets lets static. The second part is the more "alert" style of the music. In Mirrors Edge this can me you get chased by people or something happens in the narrative that shifts the music. The third part can go two different ways, so for the music creation there is an branching path: You managed to escape but are now in a building where you have to solve a puzzle by doing parkour or, the chase intensifies to an another level and the music gets more aggressive and got that "hurry up" feeling. From there things gets interesting, because again an level can be branched in more different ways. Note that the alternate music always got the same roots as the ambiance, for the track still ahs to feel familiar. But now so familiar that i gets boring. So Solar Fields added lots of modular synthesis to solve that problem(also something you hear in the Doom 2016 OST by Mick Gordon)...!!! If you want to hear an example to follow along of what i am talking about, here is a link to one of my most favorite pieces of Solar Fields~ Hopefully it can you help all out if you want to create your own video game music...!!! Keep on creating D Mirrors Edge - Flytrap OST: th-cam.com/video/Kn_fOSl0MGU/w-d-xo.html
Wonderful! So glad to hear you mention Jason Graves! I went to high school with him and had the pleasure to play music with him! He's really done well for himself and we're all so proud to know him!
@@ThinkSpaceEducation A secondary side note... it was fun to find out that years after we both graduated, that we met again professionally before socially. Not long after graduating from university, I started working as an artist for a games company and as I was tasked with making cinematics and needing time on an editing deck locally, imagine my surprise to meet Jason out of the blue. Before games, he was in video production - at least that's my memory from 25 years ago! Since that time, I guess we've both kept with it... the odd fact about this that I want to share is that Jason is a drummer... that was his musical start, and almost everyone else that I've met in game sound and music are also Drummers! Out of 5 people in the audio department, 4 were drummers. Maybe its because there's something about drummers on the east coast... maybe its industry-wide... I think it would be fun to poll anyone that you meet that also has made a career of video game composition and sound design if they were Drummers first. Thanks for all the inspiration and for using Cubase! Cheers!
Hi Guy hope you're well. Great video to introduce people into video game composition! Just a thought from my side, I've been using these type of techniques for over 20 yrs now, and although they are useful for some type of games they can also get very musically boring for the player. This depends hugely on the type of game and the way the player may or not play through said game. Your zombie game example is a great example of scoring interactively, i.e. what we can do with interactive music and middleware, but just to put a counter point of view out there: what if the player is going from stealth, to action, to stingers in a short space of time ? (ie 20 or 30s)? This sounds like a musical mess! What if the player plays more stealth but another player plays more action / combat driven? Therefore the music can sound too "AI driven" if we're not careful, and it's like there is a virtual mix person in the box frantically switching musical states. My point is: just because we can, does that mean we should? There are definitely places for these techniques but I also advise composers to look at a particular scene / segment of gameplay / mission from a high level point of view as to what the composer is trying to achieve from a creative and aesthetic point of view, and then work out how to create this in an interactive environment. It's always a fine balance between having the technical tools at our disposal versus the creative and musical tools about how we approach a game. And of course every game is different! :) RJ
Richard how nice to hear from you! ( Hey everyone - when at the end I say I'm just explaining the rules of chess but I'm no grand master - Richard is a Grand MASTER) You are 100% right and I have recently heard almost the same thing when speaking to Jason Graves and Will Roget. Ill email you and we should arrange a chat about this for our MA students.
I wasn’t expecting to run into your comment here, just wanted to say your presentation this month was really helpful, got the game for my birthday. Also, these are all really great advices, will keep in mind for future projects. By the way, do you have any tips for composing cello and double bass parts?
Really had no idea that video game music did some of this. I pick out cross fades and loops when I play one but the vertical layering is really something else entirely that I didn’t even realize. Very neat content this week.
How to write music for video games: *Step 1:* Find anyone who is even interested in your music, not in popular names. *Step 2:* Realize it's impossible. Assume fetal position and rot away unnoticed. There, it's done. Great success!
You are one of my absolute favorite music educators on TH-cam. You are so knowledgeable and have such a great way of conveying the matter. Absolutely love your videos!
Great explanation, Guy. Shows some insight how video game composers have to think - scoring a game you probably not even know too much about, yet the composer knows the players will probably listen to this music a lot (so it has to be neither too boring nor too much in the foreground, being too annoying - which is a nother hurdle to take care of), And even thinking back to the very old days makes me kinda shiver even more, where all you got was a couple of oscillators with basic wave forms, and perhaps a noise channel (plus limited space), where bleeps and bloops had to make the same hoops (verticality could probably only done if you kinda juggle the instruments using those few channels. I like to think about those fast-paced arpeggios back on the C64 and 8-bit console days; like the Mega Man soundtracks on the NES), because you had limited resources. Which required the composer to be really creative then, also with the horizontal thing of making loops connecting to itself or other loops nicely.
I am loving your content Guy!! I just found your channel yesterday, and I’ve must have watched like 10-15 of your vids! They’re both educational, inspiring, and just fun, I love your energy and personality
What always confused me is that these sort of decisions don't necesarely happen on grid (at the end of the loop). Depending on what the player player does sometimes they happen completely off tempo in a wierd place of the loop. Should we fade in and out in those cases too?
The middleware lets you choose when to switch - instantly or next beat or next bar so if its not super time sensitive you can programme it to do it at the end of a bar
In the new unreal engine 5, there's a thing called metasounds, they make it easy to only play certain music tracks for different gameplay scenarios, like battle and low health.
Great video! The part about using loops and handling transitions was incredibly useful. 🎵 I've been wondering, where's the best place to submit or advertise your music if you want game developers to use it? 🤔 I'm posting my tunes royalty-free on my website, but it's not the way, is it...
And remember you gotta have grit and well planned out composition that could be REARRANGE to anything just to cater fickle game director minds. Consider this as a warning.
Hello Guy, RE BBC SO ,How did you set up your instruments going into individual channels? i have the free version and it will not do it in pro tools. many thanks and kind regards......Steve
Just a fantastic video. Thanks a lot. I'm a film composer and wanna score for game too. But never score a game so far. I wanna know if the game creator send the game footage rough cut like film? Or the game scoring technology is totally different from film scoring? Please let me know. Thanks again.
Amazing video. Quality was very high as well as informative and entertaining all in one! The beginning intro was top notch though and very creative. Saving your video and channel for when I start composing.
This video is the most informative, succinct, revealing and practical introduction to game music composition the world has ever seen! A master communicator, thanks👍.
If you’ve ever heard a thud or a crackle from an old hifi when someone turned something on in the house it’s because the device wasn’t smart enough to turn on during the zero crossing of the AC current. Modern things like TVs wait a fraction of a second to start taking power for the zero crossing.
Always inspiring. Your creativity in music is matched only by your child-like imagination, the one you use every time you have to come up with an idea for a video. 👌🏼
This was a REALLY generic and clickbait title for.... well not exactly "Music for video games", but more or less, live-triggered tension music for game engines... Still cool, but really not what most people would define a "How to Write Music for Video Games" tutorial as imo.
This video touches more in detail what game composer has to take in account it all depends on the project and type of game music is made for, interactive soundtrack helps with making soundtrack responsive to players actions and in game threat (for example enemies noticing you or villian, monster getting near you in horror game).
Check it out our new course right here - here: thinkspace.ac.uk/courses/how-to-write-video-game-music/
How To Write Video Game Music is our brand new course and we are super excited about it! If you ever wanted to get started in video game music or you are looking for a new musical challenge this course will give you the essential skills every video games composer needs.
The course includes our new interactive video technology, MinusONE scoring projects and a vibrant and supportive Discord Community where you can share your work and get feedback from your peers.
this is so amazing.....I will sign up...quick questions...do you guys teach how to use Wwise as well in this course?
"You're writing the music for a scene that hasn't been directed yet" is a great way to encapsulate the challenge and the potential in game music
that’s from c418 who made the minecraft soundtrack
The amount of work this man puts into describing specific musical concepts for free is mind boggling!
Thank you so much for making these amazing videos!
Funny story 😂: I looked for some tips on composing a videogame for a client. This video was the one which seemed to be great to watch. And then, I saw your face and I was like: "hmmm, this person is very familiar to me but I don't remember who exactly". And when I finally reached the end of video, I was like :" wow, great explainer, he is very familiar to me. There was this great and aged-person I considered as Gandalf for music composer and his name was Guy Michelmore. However, this one have a beard. Guy didn't had a beard at that time"
When I was going to look for another video, I just looked at the OP name and it ta-da it is Guy Michelmore 😂 I missed your Easy-Go-Ness, I feel I belong with you humably speaking. Thank you for the video Guy! Great work
This feels like it should be paid content, you wouldn't get quality like this from any college lecturer. I feel inspired to try and compose myself now. Absolutely phenomenal demonstration with a great balance of interactivity as well as tons of useful information. Love it!
watched the full thing, wonderfully explained and showcased, loved all the effort put in, very very informational!
I can’t put into words how much I appreciate this video
@Guy_Michelmore get a job
Every Guy Michelmore vid he puts out, puts a smile on my face....reminds me to ease up when making beats
okay. Top Production Level. Not just musicwise but storywise, too.
Rah this video editing is SERIOUS. 10/10!! Great explanation of gaming topic. I like how you was inside the 🎮 . I could visualise what you was speaking about
You sir, are the greatest music tutorial TH-camr ever.
Thank you for this! So interesting!
Im very happy I have found your videos! :)
I’ve been playing The Last Of Us 2 recently - and was tuning into just this kind of thing, the way the music is cued at certain points, the way it fades, changes, is used to foreshadow - and have been intrigued by how well the score responds and interacts with my choices. So interesting!
Best video about music production i've ever seen. Very well explained.
Guy, I'm learning C# and Unity, I'm already a musician with a degree in Music, I'd love to take the making music for video games course cos it includes F Mod, which is something I can incorporate within Unity.
It feels like im dissecting how dota 2 made their transition on their music with the horizontal and vertical directions, actually so cool
Hi Guy ! Thank you so much for your detailed videos, they have been a really useful source of knowledge ! much love from Belgium
You are so creative my dude. These videos are hilarious to watch. But i'm actually learning sonething ye know. Love the intro. Kudos to you.
Great content and a Cubase user too, Subscribed!
Interesting video. My dream job is somewhere in this space, either as a composer or a sound designer (I'm already a programmer so skillset wise I could either).
i would love to have you as my professor. your explanations really resonate with me.
haha that intro was awesome! Very great video as always!
This is mind blowing would love to make music for games. Thanks so much
Thanks so much for this great informative video. One of the tips that you gave is going to solve a problem I have with my current project. Absolutely love watching all of your stuff.
Great tutorial: though one thing I don’t get about your creating seamless loops tutorial is how you manage to not listen to the tail the first time you play the loop. I mean you should listen to the loop tail only when it’s playing from the second time onwards.
Editing 😭🔥🔥🔥
awesome soundtrack love it 💞🔥🎵🎶🎶 thanks for the teaching
Guy, you're an amazing teacher! So grateful for your videos!
Where do I put out my portfolio to get those kinds of gigs?
Loved the Video Guy and so inspiring! I'm totally addicted to it. Where is a good place to start writing for games? Are Game Jam good to improve?
another great video, thanks a lot Guy
Great Video! Love the "game" you made!
Great video
Video game music is awesome!
Very cool and inspiring!
Sir. You have a sub.
Let's address the problem of "not knowing" how long the player will stay at one spot (lets simplify this and not introduce camera rotation and movement, say its only about the music). Yes, layers of music can help, but there is actualy control in middle ware that can for instance, fade in as you approach one spot, then if a certain event is unfolded, play another track, and in case of player pending in place , there is an issue of content and time - content is solved with generative audio, while time is sorted with seemless crossovers between tracks. There are multiple ways to do this and it differs depending on the game size and tech specs. You are not going to do the same thing for a console game and a streaming mobile game. Fmod Studio is a tool that can sort all your music sound issues. Lear it inside out, and it will pay out. If you want to work in the games industry, you will be asked to use middleware, be it fmod or wwise or smt similar.
Yup Wwise or FMOD are the ones and generative is really interesting
Please tell us how to get our product to the game producers.
Would you do a video about how to write Kpop like TWICE's music? It's a genre I've been getting into and I'd like to learn how and try my hand at it.
Why Cubase and not Logic Pro?
This is great advice Guy, do you ever have to deal with software like FMOD or do you let the developers do that part after you've made the vertical layers?
All our MA students learn to do that in WWise because its incredibly valuable thing to know but sadly I dont - not in my skillset.... yet
@@ThinkSpaceEducation That's interesting, haven't had to use WWise yet but am guessing it's similar. Thank you for the reply!
Hi Guy, I love your videos. Maybe a silly question but when I write my orchestral piece or a movie trailer using midi, albion one as an example, why would I need to bounce it to a WAV file and continue working on the piece? If I wrote a whole piece using the BBC Core or Albion one and add a vocal I can just bounce the whole mix as it is right? Why I see so many professionals bounced all the midi tracks to audio files?
You can work either way but in my experience mixing from audio is a lot easier and if you are sending the mix to someone else to mix then you are going to want to bounce the audio out
@@ThinkSpaceEducation good morning Guy. Thanks for the fast reply. I will try it out :-) wish you and your family a wonderful Christmas
"He goes for a....cup of tea!" 🤣
Sure?
Ok first of all, why do you look like Odin from God Of War: Ragnarok?(that was a joke don't answer that.) Second, great video!
I appreciate Guy Michelmore and what he does for the music community so much, and intros like this remind me of why I originally subscribed all those years ago. ❤️
Ditto.
This was super creative! I loved every minute of this. 😊
Thank you
This is absolutely amazing! Very very creative and informative! But I think one of the challenges is to put down a great pieces which doesn't suck or get very boring on lots of repetitions!!
Yup that is the skill of great games composers
This is great ! Though being a game composer specifically often also requires a bit of knowledge of the tools used to implement the music into the game - usually FMOD or Wwise - and actually playing the game to understand it and the kinds of interactions one may have in it is also beneficial.
Absolutely - as i say at the end its like learning of the rules of chess not becoming a grand master. This is the grammer and synbtax - now go write a novel
7:46 A great example is the music in Mirrors Edge. In that game the composer named Solar Fields really added lots of horizon movement so that the soundtrack feels alive.
Which makes one song easily around 10 minutes long. How? Well Solar Fields divided the pieces in certain blocks like Guy talks about in this video:
The first one is just an ambiance, the root of the song like Guy made at 2:45. From there he starts adding and subtracting things so that the song gets lets static.
The second part is the more "alert" style of the music. In Mirrors Edge this can me you get chased by people or something happens in the narrative that shifts the music.
The third part can go two different ways, so for the music creation there is an branching path:
You managed to escape but are now in a building where you have to solve a puzzle by doing parkour or, the chase intensifies to an another level and the music gets more aggressive and got that "hurry up" feeling.
From there things gets interesting, because again an level can be branched in more different ways. Note that the alternate music always got the same roots as the ambiance, for the track still ahs to feel familiar. But now so familiar that i gets boring. So Solar Fields added lots of modular synthesis to solve that problem(also something you hear in the Doom 2016 OST by Mick Gordon)...!!!
If you want to hear an example to follow along of what i am talking about, here is a link to one of my most favorite pieces of Solar Fields~
Hopefully it can you help all out if you want to create your own video game music...!!! Keep on creating D
Mirrors Edge - Flytrap OST:
th-cam.com/video/Kn_fOSl0MGU/w-d-xo.html
I've been doing this for 20 years, not professionally, but I'll still watch this because you're so informative
Wonderful! So glad to hear you mention Jason Graves! I went to high school with him and had the pleasure to play music with him! He's really done well for himself and we're all so proud to know him!
AHA! Jason is lovely and a phenomenal composer. He does some work with our postgrqad students
@@ThinkSpaceEducation A secondary side note... it was fun to find out that years after we both graduated, that we met again professionally before socially. Not long after graduating from university, I started working as an artist for a games company and as I was tasked with making cinematics and needing time on an editing deck locally, imagine my surprise to meet Jason out of the blue. Before games, he was in video production - at least that's my memory from 25 years ago! Since that time, I guess we've both kept with it... the odd fact about this that I want to share is that Jason is a drummer... that was his musical start, and almost everyone else that I've met in game sound and music are also Drummers! Out of 5 people in the audio department, 4 were drummers. Maybe its because there's something about drummers on the east coast... maybe its industry-wide... I think it would be fun to poll anyone that you meet that also has made a career of video game composition and sound design if they were Drummers first. Thanks for all the inspiration and for using Cubase! Cheers!
Hi Guy hope you're well. Great video to introduce people into video game composition! Just a thought from my side, I've been using these type of techniques for over 20 yrs now, and although they are useful for some type of games they can also get very musically boring for the player. This depends hugely on the type of game and the way the player may or not play through said game. Your zombie game example is a great example of scoring interactively, i.e. what we can do with interactive music and middleware, but just to put a counter point of view out there: what if the player is going from stealth, to action, to stingers in a short space of time ? (ie 20 or 30s)? This sounds like a musical mess! What if the player plays more stealth but another player plays more action / combat driven? Therefore the music can sound too "AI driven" if we're not careful, and it's like there is a virtual mix person in the box frantically switching musical states. My point is: just because we can, does that mean we should? There are definitely places for these techniques but I also advise composers to look at a particular scene / segment of gameplay / mission from a high level point of view as to what the composer is trying to achieve from a creative and aesthetic point of view, and then work out how to create this in an interactive environment. It's always a fine balance between having the technical tools at our disposal versus the creative and musical tools about how we approach a game. And of course every game is different! :) RJ
Richard how nice to hear from you! ( Hey everyone - when at the end I say I'm just explaining the rules of chess but I'm no grand master - Richard is a Grand MASTER) You are 100% right and I have recently heard almost the same thing when speaking to Jason Graves and Will Roget. Ill email you and we should arrange a chat about this for our MA students.
I wasn’t expecting to run into your comment here, just wanted to say your presentation this month was really helpful, got the game for my birthday. Also, these are all really great advices, will keep in mind for future projects. By the way, do you have any tips for composing cello and double bass parts?
Not many people know that Guy actually did the score for Frozen!
(2005)
Really had no idea that video game music did some of this. I pick out cross fades and loops when I play one but the vertical layering is really something else entirely that I didn’t even realize. Very neat content this week.
the real challenge is to find work as a music composer
I love dynamic music in games, but let's be real: you can do just as well by making static straight up dope music instead. As long as it loops.
Most of the players turn the music off while playing. To hear the enemies and environment noises better
Would love to see a breakdown of how Wwise / fmod work 👍
How to write music for video games:
*Step 1:* Find anyone who is even interested in your music, not in popular names.
*Step 2:* Realize it's impossible. Assume fetal position and rot away unnoticed.
There, it's done. Great success!
You are one of my absolute favorite music educators on TH-cam. You are so knowledgeable and have such a great way of conveying the matter.
Absolutely love your videos!
Step 1: become Yasunori Mitsuda
or Kenji Ito
Great explanation, Guy. Shows some insight how video game composers have to think - scoring a game you probably not even know too much about, yet the composer knows the players will probably listen to this music a lot (so it has to be neither too boring nor too much in the foreground, being too annoying - which is a nother hurdle to take care of),
And even thinking back to the very old days makes me kinda shiver even more, where all you got was a couple of oscillators with basic wave forms, and perhaps a noise channel (plus limited space), where bleeps and bloops had to make the same hoops (verticality could probably only done if you kinda juggle the instruments using those few channels. I like to think about those fast-paced arpeggios back on the C64 and 8-bit console days; like the Mega Man soundtracks on the NES), because you had limited resources. Which required the composer to be really creative then, also with the horizontal thing of making loops connecting to itself or other loops nicely.
Well a friend of mine is scoring a new game for gameboy using all the old chips. Nostalgia city!
I am loving your content Guy!! I just found your channel yesterday, and I’ve must have watched like 10-15 of your vids! They’re both educational, inspiring, and just fun, I love your energy and personality
What always confused me is that these sort of decisions don't necesarely happen on grid (at the end of the loop). Depending on what the player player does sometimes they happen completely off tempo in a wierd place of the loop. Should we fade in and out in those cases too?
The middleware lets you choose when to switch - instantly or next beat or next bar so if its not super time sensitive you can programme it to do it at the end of a bar
In the new unreal engine 5, there's a thing called metasounds, they make it easy to only play certain music tracks for different gameplay scenarios, like battle and low health.
A topic I’ve been waiting for. Thank you
enjoy
How you gonna mention masters of great game music and not even mention the GOAT David Wise?! SMDH Great vid though :D
Great video! The part about using loops and handling transitions was incredibly useful. 🎵
I've been wondering, where's the best place to submit or advertise your music if you want game developers to use it? 🤔 I'm posting my tunes royalty-free on my website, but it's not the way, is it...
watched 3 minutes of this, and I got my answer already! thanks! This video is a gem
6:20 How do you have the little snap for fader?
In my Cubase (Windows) I can't seem to make it appear on the channels.
Am waiting the "how to write a music for a RETRO game on Amiga": four 8-bit sample channels, limited RAM, completely different set of challenges
And remember you gotta have grit and well planned out composition that could be REARRANGE to anything just to cater fickle game director minds.
Consider this as a warning.
Hello Guy, RE BBC SO ,How did you set up your instruments going into individual channels? i have the free version and it will not do it in pro tools. many thanks and kind regards......Steve
Just a fantastic video. Thanks a lot. I'm a film composer and wanna score for game too. But never score a game so far. I wanna know if the game creator send the game footage rough cut like film? Or the game scoring technology is totally different from film scoring? Please let me know. Thanks again.
Amazing video. Quality was very high as well as informative and entertaining all in one!
The beginning intro was top notch though and very creative.
Saving your video and channel for when I start composing.
The best way to create music is to play the game and imagine from scratch. But occasionally already-made songs do work which is a relief lol
This video is the most informative, succinct, revealing and practical introduction to game music composition the world has ever seen! A master communicator, thanks👍.
Music in this video constantly reminds me of Resident Evil
Video game music has pretty hard competition 🤣. But ! 😳. niche markts be hot
You could add knocking zombies outside into your home studio windows when you start a playback of your nightmare music
If you’ve ever heard a thud or a crackle from an old hifi when someone turned something on in the house it’s because the device wasn’t smart enough to turn on during the zero crossing of the AC current. Modern things like TVs wait a fraction of a second to start taking power for the zero crossing.
13:40
Horrifying!
Such a contrast from your nice warm relaxing voice hahaha
Always inspiring. Your creativity in music is matched only by your child-like imagination, the one you use every time you have to come up with an idea for a video. 👌🏼
This was exhilarating! And eye opening!
This is bloody awesome! I actually had no idea that it was done this way! ❤
As a game dev, I do not agree with putting a British composer as the protagonist in a zombie game, the music is fire though
this video was so cool
I haven't finished the video yet but as an aspiring composer who is working with her roommate on their first project, that intro was fantastic.
When speaking video game, we say respawned, not reincarnated. 😂
Man, I need a shed! Isolated, insulated, cosy to get that creative mojo in gear.
3:00 i literally jumped when this started playing 😂
That intro deserves a sub. Regardless of anything else gg😂
Less than a minute in and this man has already earned all of my respect. So well done.
Honestly i want top down action game where you play as an old british composer
This was a REALLY generic and clickbait title for.... well not exactly "Music for video games", but more or less, live-triggered tension music for game engines... Still cool, but really not what most people would define a "How to Write Music for Video Games" tutorial as imo.
This video touches more in detail what game composer has to take in account it all depends on the project and type of game music is made for, interactive soundtrack helps with making soundtrack responsive to players actions and in game threat (for example enemies noticing you or villian, monster getting near you in horror game).
reaper has a brilliant feature for rendering loops, it can render the 2nd pass
thank you so much for explaining
The start was long but surprisingly, it kept me interested the whole time. Very well done.
Sir you're a musical genius like hans zimmer. A true gem ❤ for young producers who want to learn about filmscore music.
Very nice vídeo and very well done!! 👏🏻👏🏻