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[Enrique Ponce]

Hello everyone!

So it may be an obvious question but perhaps there are smaller thing I'm not thinking about. Other than a shiny portfolio, an abundance of credits, and a forum post looking for work, what does a developer look for? There are hundreds of posts by composers across multiple forums that I see and I really wonder how it is that someone (the lucky one) gets chosen.

I would consider myself experienced (more in film work than video games) but perhaps this can help out composers who are just starting out. I have found work through word of mouth and by human interaction. Very few projects have come from being online but it seems to be getting more popular.

If any of you developers out there read this I urge you to leave your two cents on the topic!

[FelixArifin]

Hmm, tough question! From the devs I've worked with, they often look for tracks that line up with their vision of the game. Whenever a developer has a call for composers, I usually like to throw a very quick, rough idea of what they might be looking for for the game, music wise - perhaps a quick 15-30 second loop for the main menu, as an example. To go with that rough idea, I also like to put forward some examples of other games that have done similar things music wise to show that I know what I'm talking about, and I know exactly what they're looking for. After that, just a lot of patience and luck!

Hope that helps.

-Felix

[Enrique Ponce]

Right. I have a demo reel saved for that. It's a bunch of games that I re-scored the music to but sometimes it's difficult even getting to that stage. I've heard a lot about people having trouble finding a ripe project. It always seems that these projects already have a composer. Just hard to be that first guy when the developer is actually looking.

[rj]

thing is, music is a buyer's market. devs have unlimited choice basically re: who to approach and how to approach them. be proactive and watchful and make sure you keep making music actively. your own stuff, too, like...albums.

[Jasmine]

make sure you keep making music actively. your own stuff, too, like...albums.

I second this, fact of the matter being that I don't. It is reassuring to know that, whether working or not, a composer has their own projects under way or finished in the past. I was talking to a good friend of mine who, because of my schedule, would need other composers to contact in case I couldn't pull through in time. I sent him the portfolio of another composer who had a posting of a 30 pieces a day challenge they completed on their site. The mere fact that this composer was able to initiate and finish a project of their own really impressed him.

If this composer can follow through with their own idea, they can most certainly do it under someone else's direction.

They want to see that you have a style of your own, too. What do your visions look like when you aren't under someone's guidance? When your music isn't inherently being shaped by the desires of another?

I'm too busy now, but when space frees, I "need" to make a personal album a priority. Music that was written by me, for me. We all need albums like that every now and then.

[Terrytheplatypus]

it's very unlikely that i'd pay someone to make music for a game that i make, but the only people i'd want to commission music from are people who make music i really like and stands on its own. Not even necessarily that the person made game music. You can't predict personal taste, but if you make music that appeals greatly to some subset of people, then it would be more likely that people would commission you.

[Enrique Ponce]

it's very unlikely that i'd pay someone to make music for a game that i make, but the only people i'd want to commission music from are people who make music i really like and stands on its own.

Well I think it goes without saying that you have to like the music and that it should stand on it's own. And of course, every composer has their own sound that you may, or may not want. A developer wouldn't go up to Jack Wall looking for the sound of Austin Wintory. However, I find it surprising as an artistic person that you wouldn't want to pay someone for original music for your original game. I'm curious to know if you would look for someone who would do it for free or if you would go after royalty free music?

I certainly don't take any offense to my profession if you look for someone to do it for free, but surely you must know that someone who charges is charging because they can certainly deliver high quality material. Any project is an investment, and investments require both financial and daily commitments.

As far as making music that appeals to people, sure I agree... that responsibility falls on the composer. 

[TomHunt]

1) talent. you don't necessarily have to have a whole lot of range in what you can do, but you'd better be pretty good at whatever it is i am looking for. this is where you want to be able to point to a bandcamp and/or soundcloud page chock full of good stuff that i can listen to and be all like omg you're awesome . not only does this tell me that you've got the goods, but it also works as a handy reference for when we're working together.

2) cool to work with. while it is possible to work with a talented prima donna asshole and do some good work, it's not very fun and tends to suck away time from other things i could be doing. don't be an asshole. be cool. especially to people who are going to be giving you money for things. if you're having trouble with this, or are even just socially awkward a lot, find a book on (modern) etiquette, study it, try things out, and find a style that works for you that everyone else is cool with.

3) professionalism. punctual. able to get things done on time. gets things done (e.g. doesn't quit halfway or most-of-the-way through). doesn't waste my time. also adaptability. you know, the usual stuff.

(bonus) being in the same local area. it's really cool to be able to grab drinks with or just generally hang out with people. you can pick up on all sorts of subtle social cues or just random bits of conversation while hanging out with someone in-person, and these can in turn inform what you're working on and make it more personal and thus more valuable. this is where you might want to consider being near a city with an indie community, if you aren't already. an added bonus to this is that you can usually also combine your games work with other gig work around town in these places.

(these actually also mostly apply to any type contractor i work with, not just music)

[Kyle Preston]

^ This is all solid advice

you'd better be pretty good at whatever it is i am looking for.

In my experience, this is absolutely true. An alignment of tastes between you and the developer(s) is essential. If you write amazing elevator music and that's what you want your musical identity to be, you probably shouldn't waste your time trying to pursue a game about medieval bakeries, tasty though it sounds.

This will limit the types of projects you pursue, which imho, is a good thing, depending on how bad you need the money.

what does a developer look for?

This is an important question Enrique. Equally important is what you, the composer, are looking for.

[Enrique Ponce]

(bonus) being in the same local area. it's really cool to be able to grab drinks with or just generally hang out with people.

Yes this is the hard part in my case since I'm still saving up to move out somewhere. I haven't quite decided on the location yet but I'm thinking that it will be the West Coast without a doubt. Would have any suggestions on specific cities I may try?

I'm also thinking of hitting up some conferences in the future. What would you say most developers are hoping to achieve when they attend these events? How open would you be to a composer approaching you in person?

This is an important question Enrique. Equally important is what you, the composer, are looking for.

I've noticed that it's really hard to find a project that is ripe. Most project online are made as a "hobby" or just fall through because the developer is never serious. Then, the projects that are serious, already have an established team. I just sit here wondering, how the heck did that composer get that gig? I need a crystal ball which will magically tell me what to click on haha!

So in the end, that's what I want. A serious project with a devoted team.

[FelixArifin]

So in the end, that's what I want. A serious project with a devoted team.

Jokes aside, composers are generally in the same boat. Like I said, lots of luck, perseverance, and the right connections will get you to where you want! And then we'll start asking around, "Hot dang, how'd he/she get that project..."

-Felix

[Zizka]

1. RE-LI-A-BLE (in capital letters). I'd rather have an average composer than a good one who can't be counted upon. Reply emails quickly, respect deadlines and don't shovel out excuses.

2. Make sure to show interest in the actual project, not just the musical aspect of it. That's a big one for me.

[TomHunt]

Would have any suggestions on specific cities I may try?

I would say Seattle, but I am biased :D 

Seriously, tho, I would think any major city would work. On the US west coast, LA, SF, Portland, and Seattle all have really great indie scenes. It may also help to check things like the local craigslists to take a temperature on the local job market. Make sure you are able to support yourself with the city's work options while also leaving enough time to focus on your craft.

It also helps if you just really like the city you're living in. Living in a place with an active, vibrant culture that really appeals to you will help keep your work fresh and lively.

I'm also thinking of hitting up some conferences in the future. What would you say most developers are hoping to achieve when they attend these events? How open would you be to a composer approaching you in person?

Depends on why they are approaching.

I would recommend NOT trying to sell people on your work as part of your conversation with them. Just talk about stuff and maybe make a friend.

Talk about your work if it comes up; otherwise, just talk to be social. Let them ask for your business card / contact info - which they definitely will, if they are interested in possibly taking this further.

[Enrique Ponce]

1. RE-LI-A-BLE (in capital letters).

Oh goodness yes even on our side as music creators. Sometimes I really can't believe this is a serious problem...

I would recommend NOT trying to sell people on your work as part of your conversation with them.

Very good tip. I must admit that I have been guilty of this in the past... Luckily, I was still able to get work out of it but it doesn't always turn out that way. Tons of emerging composers are simply too desperate for anything that they run around button mashing real life trying to get a gig lol.

I would say Seattle, but I am biased :D 

Is this your hometown?

[Rognirim]

It probably varies greatly from developer to developer, but having outsourced music for indie productions before I can at least share things that have come to mind during our searches.

Have a very clear set of examples of your best work, while not sending me too much. If you’re looking through portfolios you generally don’t have the time to delve deep into every single one. Just a couple of high quality tracks that showcase your range as a composer for the kind of music you enjoy creating. I feel I can usually get a pretty good idea if a composer is right for a project by just listening a few moments.

Try to show originality. As there are so many examples of very generic game music already out there, it’s usually a quick decline. If a piece is titled ”fantasy battle music” for example, it’s very refreshing to hear an innovative piece as opposed to iterations on the same sound that’s been heard many times. It’s way more important to me personally that people show what sound they’re capable of coming up with themselves than that they can recreate what’s already been done.

I would much rather hear an example that’s not entirely what I had in mind when thinking for example ”fantasy forest”, that makes me go ”Huh. You know what it’s a little odd but that’s a really cool take on it.” The specifics of the music we can always tweak. I feel striking aesthetics is especially important for indie titles, and music is an often neglected part of it.

I would recommend NOT trying to sell people on your work as part of your conversation with them. Just talk about stuff and maybe make a friend.

Definitely this, it happens way too often and it just puts the developer in an awkward position.

[TomHunt]

I would say Seattle, but I am biased :D 

Is this your hometown?

Not where I was born, but I think I've lived here long enough that I can legitimately call it "home". I get homesick if I'm away for too long.

There is a lot to like about Seattle. It's not perfect, but I have yet to find a place that suits me better, personally.

[Enrique Ponce]

I've heard nothing but good things about Seattle. Makes it very tempting to make the jump there

[LoganHayes]

What really gets you work in the long run is repeat clients and referrals from those clients. Obviously that presents a problem starting out, but there's somethings you can do to get your foot in the door and make sure that those clients will be willing to give you a referral and/or want to come back to you in the future.

- Be able to implement. Whether it's straight into Unity/UE4 or using middleware, be able to get your sound playing in the game and save them time. This is huge. Even if you hit parts where you get stuck from something in the engine and they have to give you a hand, you're still saving them time and they appreciate it. What really works here is that you're making their life easier and taking away from their workload so they can focus on other things. And it also makes you look loads more professional.

- Be willing to wear multiple hats. In one case, I'm pretty much heading up marketing for the time being on the game I'm working on. There's 3 devs not including myself, but they're swamped so I decided to step and take care of it. This can include anything from writing copy for posts, getting together gameplay footage and cutting it together, or gathering any type of marketing materials needed. It's a lot of additional work, but since I'll own a percentage of the game on top of being paid an upfront rate for my work, I can directly benefit from this work monetarily. And again, if you're making their life easier, even better! It's a team effort so try to be a big part on the team.

These are two things that have really helped me. But also, I think it's worth pointing out that posting on forums is great and all, but it won't be the end-all especially when you're starting out. You really have to get out and network in person. Find events that you can afford to go to that are relatively close to you. And by network, I mean make friends. Don't be a used car salesman. Once you have some credits and, essentially, creditability, cold calls will become easier. But it's pretty much the 20/80 rule: 20% of your work will result in 80% of your income, whereas 80% of your work will result in 20% of your income. Cold calls take tons of time and they're totally worth it, but to really get the ball rolling, I'd say to get out in person!