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10.03.2026 17:16
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Day 2 at GDC 2026!
100% human music, handcrafted to an insane level of detail
Merci @hpisound.bsky.social 🙏
POV: you try to game but your controller has main character energy 🔈🔉🔊
The 2010s were the pinnacle of virtual orchestral game music. Seen from today: uncanny valley feeling everywhere.
We're in a much better place now
The 7th guest was the first video-game soundtrack that got me completely hooked when I was 11. It was ahead of its time
youtu.be/__nljZezcbg?...
As many of your already know, I'll be at GDC this year. It will be my first time and I'll be looking forward to meet and discuss about game music, the Universe and Everything 🚀
Hybrid music. Hybrid music all the way
If you aim for the best, good music is not enough. In games we need good music that enhances the gameplay. It has to work both ways
When the composer integrates and tests music in the game engine the "breaking immersion" problem disappears. It becomes much clearer how the music can help the game
What you don't want is a machine that will industrially create wood sculptures because you want your carving to have its own soul. It's about being unique and fascinating in a way that allows you connect with the people who come to see it.
In both cases you can achieve a beautiful piece of carved wood, provided you know how to use your tools. Only using some machines is going to spare you some time on repetitive tasks that don't involve creative decisions.
Your job is to carve a piece of wood to make an sculpture. You could carve it entirely by hand with different tools, or you could use some machines to help you achieve the results you envision.
Game music really isn't like movie music. Being interactive means that the player isn't just following a character. It is the character. And the music has the power to make this agency feel powerful and personal for every single player
I love scoring narrative games where you have to balance how much the music serves the gameplay versus how much it follows the story. That tension often leads to the most absurd ideas, which surprisingly turn out to be the ones that work best
Not a huge fan of sample libraries myself, but praying for NI to keep providind support for all people in the industry that still uses Kontakt on a daily basis
cdm.link/ni-insolvency/
Very creative blend of acoustic and electronic instrument. Did anyone try it first hand?
www.korg.com/us/products/...
Low poly, pixel art, realistic, cell shading, hand drawn. Each one is a goldmine for musical ideas. Translate the aesthetic, not the genre, and you'll be set up to create something unique.
Wwise should give composers and audio designers the possibility to map the sounds to a game controller to see how it plays without needing access to the game engine. So much of what we do in music for games depends on how it feels with the controller in your hands.
#vgm #composer #gameaudio
Composers, let your music be not only good, but also something that ressembles you. The games industry needs original and fresh voices, new ideas. Find the thing that only you can do best
10000 hours.
That's the amount of time that takes to get good at making music.
Those thinking you can bypass that effort are being fooled by some illusion of competence. It's simply not how it works.
Creative work is not about exporting, about presets or about adding a mono track.
It is and will always be about finding and developing great ideas.
Making templates for everything will help you to spend your time where it really matters.
Clair Obscur : Expedition 33 de Sandfall Interactive est sacré Jeu de l'Année (GOTY) et remporte 9 récompenses au total aux #GameAwards2025 !
Une victoire historique pour l'industrie tricolore.
Voici les talents que nous célébrons 🧵👇
#GameAudioFrance #GOTY #FrenchDev
My workflow:
Pencil for drafting
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Composition and arrangement on Cubase
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Mixing on REAPER
Woodwinds + 2 Harps + string harmonics + low end horn +
Debussy is a treasure trove for beautiful orchestral textures
Towards the end you shouldn't be using any sound straight from your template. Not because they are bad, but because you found better
Finding the right palette, creating themes, actually composing the music, making and polishing the arrangements, mixing and mastering. All those things need to be taken care sequentially.
At the end of the day, rushing means that awesome music will be less awesome
Letting go a project is the hardest part. Every time it feels like leaving an awesome place where there is so much left to do
Your DAW is not a score, it's a virtual canvas to paint with sounds. We composers are like Renaissance oil painters, building layer over layer to create texture, volume and detail
