As a video game composer and author of the book A Composer’s Guide to Game Music, I’m frequently asked for advice on how a young composer can gain entry into this business. I dedicated a chapter of my book to this topic (Chapter 14: Acting Like a Business and Finding Work), so I’ve certainly thought a great deal about the issue. From my very first project (God of War) all the way to my most recent game (Homefront The Revolution, pictured right), one thing has always been abundantly clear: landing gigs can be a complex journey. That’s especially true for newcomers, and there are no easy signposts pointing the way. While I tried to use my own experiences and insights to provide useful guidance in my book, I know that everyone’s experience is different, and multiple points of view can be very helpful. So in this article, I’ll be offering resources from articles and community discussions on how to face down the awesome challenges of breaking into the industry as a composer of music for games.
First, I’ll be sharing a video from my presentation at the Society of Composers and Lyricists seminar, in which I answered the question about how I got my start in the games industry. Then, we’ll be exploring highlights from a collection of online articles that offer helpful tips for how to break in and establish a career as a game composer. Finally, at the end of this article I’ll be including a full list of links for further reading and reference.
Welcome to the third installment in our series on the fascinating possibilities created by virtual reality motion tracking, and how the immersive nature of VR may serve to inspire us as video game composers and afford us new and innovative tools for music creation. As modern composers, we work with a lot of technological tools, as I can attest from the studio equipment that I rely on daily (pictured left). Many of these tools communicate with each other by virtue of the Musical Instrument Digital Interface protocol, commonly known as MIDI – a technical standard that allows music devices and software to interact.
In order for a VR music application to control and manipulate external devices, the software must be able to communicate by way of the MIDI protocol – and that’s an exciting development in the field of music creation in VR!
This series of articles focuses on what VR means for music composers and performers. In previous installments, we’ve had some fun exploring new ways to play air guitar and air drums, and we’ve looked at top VR applications that provide standalone virtual instruments and music creation tools. Now we’ll be talking about the most potentially useful application of VR for video game music composers – the ability to control our existing music production tools from within a VR environment.
We’ll explore three applications that employ MIDI to connect music creation in VR to our existing music production tools. But first, let’s take a look at another, much older gesture-controlled instrument that in ways is quite reminiscent of these motion-tracking music applications for VR: