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[Vladau]

Hi, I'm writing my dissertation for my music degree on video game composing, and I was wondering if anyone "hired" as a composer for a game project has found themselves in need to involve themselves in other aspects of the game development, be it implementation, sound design or anything else?

Thanks in advance for your answers!

[FelixArifin]

Sound design is definitely something to keep an eye out for. There's a lot of people willing to make pretty music, but not a lot of others wanting to make laser shots or engine sounds. Then again, sound effects can be found for very cheap online, and there's just a huge gargantuan list of sounds to choose from as well.

It's something to look out for though.

[Kole]

Hi, I'm writing my dissertation for my music degree on video game composing, and I was wondering if anyone "hired" as a composer for a game project has found themselves in need to involve themselves in other aspects of the game development, be it implementation, sound design or anything else?

Thanks in advance for your answers!

Yes, in addition to creating Music I often design sounds and integrate audio in something like FMOD or Wwise. Understanding how to do these things has positively influenced my Composition work as well.

[ArnoldSavary]

Yeah, I've done some sound design too. Actually I made all the sounds for my first game from scratch, so I guess I'm a foley artist as well. Firecrackers for gun sounds, sponges for flesh, recording zombie growls... Fun stuff.

[MoritzPGKatz]

Hello,

Producing audio assets for substantial games presents a wide range of challenges.

Of course, there's sound design which often requires a lot of technical (what microphone do I use, how do I point it at the thing I want to record, how do I set up a healthy signal chain, what room do I record it in, how do I mix all the things so they sound believable or at least immersive) and creative skills (I don't have a 150 feet dragon here, what sounds do I use instead?).

But there's also stuff like voice recording, which is more than just pressing record and letting the artist do the work - you'll probably be the one giving directions on acting, pronunciation, speed...

Another highly underrated skill is organising yourself, your schedule and everything that's related to a project. No one knows how long it'll take for you to score that cutscene. If you don't either, you're gonna have a problem.

On that note, the most important feature of a good producer is good communication skills. Can't stress how important it is to be able to talk ideas, schedules, references etc. through, in a non-confusing and friendly manner.

And then there's all the big little things; Good taste. A network of people you like to work with. Providing feedback on game design. Soldering faulty cables. Keeping your instruments in shape. Knowing good bars near your studio. Personal hygiene. etc.

Cheers,
Moritz

[bonixmusic]

I agree with the other responses. Sound design is a good toolset to have. Also, the more you know about different 3d engines (primarily the main ones, Unity, UDK) the easier it is to get additional work at times. For example, game company XYZ wants a composer to also do sound design and able to quickly implement the audio and sfx w/in the game engine, knowing how the 3d engine handles audio will obviously increase your chance of additional work. Also, you may find you really enjoy doing something else besides composing 24/7!

[WittyNotes]

I personally find that at least a little bit of integration skill goes a long way. If you know enough code that you can (for example) showcase how to use an Fmod or WWise bank in whatever engine your team is using, then that would be a big plus, depending on the team.

[ashtonmorris]

I have to agree a lot with Moritz.

Some other things you might end up doing game wise would be game testing and offering ideas. Some devs are open to suggestion and or interested in fresh perspectives. Also theres voice over work, even if you don't record the talent or do the voice's yourself you might need to help with some editing or post processing. Then promotion or cross promotion, you can help with getting the word out about the game, getting more votes on greenlight or whatever.

And what Mortiz said on your end is where the real work is. Constant and effective communication, managing your time properly and handling multiple deadlines, self promotion and web or social updates, budgeting, reading relevant blogs or articles staying relevant, and looking for work even as you finish your current work.

Those are some other skills

[tworeddiamonds]

Basically, as much as you can: Sound design, production, delivery and implementation.   If you know a scripting language, all the better.   From the projects I've done, and what I've heard at conferences, and from other professionals, is that the more you can differentiate yourself, the better.

Myself, I've done sound design, composition, delivery/mastering and now I'm in the middle of learning WWise for generative music.

[Torchkas]

I think you definitely need a fair understanding of a game's systems and how to effectively play with that system to create accompanying music. So yes, skills like understanding of design and art definitely play a role into this.
Music is very important for the atmosphere. The only way for the game and the music to flow well together is if you have an understanding of how this gets into place.
As to if you ever need to apply those skills for industry jobs is beyond me.

[alyxjones]

Oh god yes, i've ended up in one collaboration where they didn't seem to know what they were doing and everyone was constantly asked opinions on things such as game design, mechanics, all this...I don't mind that as I'm pretty competent with Unity and the likes but when they say they want a few tracks and then you basically have to be involved in making the game, it's alot more than what you originally signed up for!