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Member Since 28 Aug 2011
Offline Last Active Jan 10 2014 07:39 PM

#5081544 Eerie soundtracks

Posted by on 29 July 2013 - 02:10 PM

A soundtrack to add to that list:

Resident Evil


Though I happened to link one in particular, any of them will do. 


The music tends to follow the same flow as the pieces that Nm posted, with more emphasis being on timbre and ways to create tension, more so than melodic material.

#5080155 Bossa Nova Theme - Feedback Please!

Posted by on 24 July 2013 - 10:37 AM

Hey Game-devians. I'm here with a theme for a project I am currently writing for.
The game itself is nestled in bossa nova, and I have been working on a character theme.
I would LOVE some constructive criticism on this piece.
It isn't finished (still have some things I want to add in), but I am concerned the most about the balance and mixing.
Mola Mola
Thanks for those willing to listen and leave comments!

#5071648 My first soundtrack to a game (Still WIP)

Posted by on 20 June 2013 - 06:26 PM

Fantastic work with the sound! I was wondering, did you have anything to do with the music and its correlation with gameplay? I absolutely love the pitch shifting when colors change, the tempo increase when you get a boost, and the sudden slowing down whenever you crash.


Great job all around! I really enjoyed playing the game and hearing your music! It fits very well.

#5070329 3D Audio Game

Posted by on 16 June 2013 - 10:03 PM

This is really cool! It's a shame that I didn't attend GDC; I would have loved to hear the process that you went through to produce the sound for this project.

#5065021 Hi~ Looking for feedback :D

Posted by on 26 May 2013 - 11:27 AM

Hey there, Youmitsumi! I took a gander at a few tracks on your profile, and I am glad I double-checked your post after listening! You said that you have grown interested in sound design, and my first comment was going to be about the ambiance you have  in the first few tracks of your portfolio. I really like the way you combine the use of ambient textures to compliment your pieces. As a video-game composer (honestly, a composer for any type of media), I believe that writing music to compliment the environment it is being based in is an important skill to have!


Based on what I heard, you seem to naturally have a knack for ambient music (taking into contribute to your piece, Rain Forest, particularly). Although that is the first track, it is one that ultimately stands out the most to me. Plus, I kind of get an ethereal, translucent vibe from many of your pieces. Seashore reminds me, A LOT, of this particular track from FF X - 


I think, if anything, I would say, for one, integrate more depth into your pieces. By depth, I think I mean bass, or low voices. Kind of work between different registers a bit more. Also, try to integrate a wider range of timbres and instruments into your works. In Dancing Blocks, your piece really opened up at 5.53 when you brought in the strings to break up the electronic tones, and I feel you could have achieved a deeper, fuller sound had you incorporated instruments/synthsizers on the low end to fill out the seemingly empty spaces. Also, try expanding on your musical ideas a little. Pieces like Seashore and Rain Forest do well as ambients, but you can also change tonal centers, add acoustic effects to help shape the background environment, etc. etc. Just thoughts.


Lastly, I'd like to second 10Ahead's note on the length of your demo reel. I've gathered intel from a lot of notable sources on the site and I'd have to agree with them when they state that demo reels need be short and sweet. Instead of including full length versions of your pieces, gather an assortment that showcase your versatility and skill as a composer, and trim/edit them accordingly. Many developers looking for composers spend time sorting through portfolios, and when you present a demo reel, your best bet is to get them engaged and interested as quickly as possible (like t.v. commercials). Me personally, I'd keep my demo reel between 3 - 5 minutes (though some would say shorter, and some longer). It is ultimately your preference, but 10 minutes is a bit lengthy, so obviously 19 is far too much time for one to take to generalize your capability as a writer (as shaddy and shallow as that sounds).


Anyway, I think that you are doing great. I'd love to hear more ambience from ya'!

#5064796 Feedback on a demo Track! Mixing/Balance

Posted by on 25 May 2013 - 09:50 AM

Hey all! I'm trying my hand at Drum and Bass. For this piece in particular, I was trying my hand at combining vocal percussion/effects with other electronic/acoustic percussion of sorts.


I'm steadily working on it, but I'm not exactly satisfied with the openness of my mix as it is currently. Perhaps someone would be willing to take a listen and offer some feedback?


On anything, really.


I'd greatly appreciate it!



#5029167 How to structure a story for pitching ? + other questions.

Posted by on 05 February 2013 - 03:13 PM

I am in partial agreement with Sporn. Though I do believe that thinking too much about gameplay can hinder the flow and limit the possibilites of your story, omitting the gameplay aspect until after the fact can be just as detrimental. I have played a few games where, though the storyline was fantastic, there were plenty of gameplay elements that could have been fixed, or altered (the first that comes to mind for me is Persona 3. Though a good game, sometimes it felt like there was more story telling going on than actually gameplay. As if they made the story, then stuck in gameplay ideas).


I, personally, believe that equitable amounts of love should be shown to both.


I don't want to say that thinking of the story first and gameplay second (or vice versa) is a bad thing. Good things can come of it, and for some people, that is simply how they think. I would be mindful of both.

#5028113 Feedback on hard rock sample

Posted by on 02 February 2013 - 09:54 AM

This thread is great for me as well, since I am trying to get some experience with recording electric guitar. I use a Line 6 POD U2X (an older version), but the results I have gotten have been fairly good, especially since the guitar I own is practically garbage.


Here is an example from a guy I followed on newgrounds using a POD U2X and writing a song using it: http://www.newgrounds.com/audio/listen/207445


As far as the song writing itself, I agree with Madhed on the pacing of the song. It is much too slow. Energy drinks are supposed to get you pumped up and feel a rush or surge of energy. This one sounds more like an instrumental to a hard rock song. Then again, if the guy likes what you have, it must not be that bad, but I would insist going for a song with a little more push.

#5024082 All Kinds of Advice Welcome: "WAKE - Evolution through Extinction"

Posted by on 21 January 2013 - 05:34 PM

Sweet! I really liked the twist near the end, where the player realizes that they are Mr. Ashland, and that the creator of nanites was responsible for the future destruction of humanity. There were a couple of things that jumped out at me:


I am a bit confused about the Ziggy/Duffy part. Time Portals are highly illegal (in regards to their species), yet their faction carried tools necessary to create a portal? I figured if having a time portal was punishable by death, it would be highly difficult for their species to obtain the materials needed to create one. Another thing is the relationship between Ziggy, Duffy, and the player. I was wondering how much time will pass between the initial introduction of Ziggy and Duffy to the player, because it seems as though Ziggy and Duffy get attached to the player REALLY quickly. With Duffy being dry and blunt, I find it odd how she/he (it?) would be willing to risk her/his (their?) life for an organism they don't know without clearly assessing the situation beforehand. 


My other comment is on the second play-through. I really dig the concept, it's just finding a way to make it seem as though the player isn't simply starting over. I'm sure that isn't your intention, it just happened to be the vibe I got after reading the initial post.


All in all, if the game-play is handled right, this will be a really cool game.

#5023542 Criticism on Dialogue

Posted by on 20 January 2013 - 11:12 AM

Hey all! So I guess a quick description of the game itself will help you better understand the dialogue. This game has to deal with outer body experiences and other worldly realms and consciousness. 


I would love feedback on the dialogue. I am a huge stickler about good dialogue, and though I can pinpoint it when I see/hear it, I'm not sure if I am good at creating it. The part in italics is a quick synopsis of the game, and back-story to the preceding dialogue.



The game is situated around Amnesia. The player awakens in a place called Secoursia, which is an area within the mind that deals with retrieving lost memories. When a person loses their identity (Amnesia) the brain sends a mental subject to Secoursia to go retrieve enough memories to help the Amnesiac remember themselves. Basically, the player plays as themselves, but they don't know who they are. The scene below is a memory that, when found or resurrected from the mental depths of the player's mind, will play out in the game.


The story surrounding the player is one that incorporates governmental upheaval. Einstad, the kingdom in which the player is a high official, is at war with another kingdom called Alfina. Keiv, King of Einstad, waged this war due to the neglecting of his own kingdom - By defeating Alfina, he is hoping to take its resources and build a new. Unfortunately, Einstad is on the cusp of destruction, and at the rate the war is progressing, will lose. Keiv realizes this, but persists in fighting, allowing his pride to override his judgement. The scene below is a secret meeting called to order by Marc Dolov, King Consult and Military Strategist of Einstad.




Prior to the meeting, Marc Dolov had spoken to each of the 8 officials individually. Those that he felt would aid him in his endeavor were invited to the present gathering. Everyone was surprised to see one another - They had all been expecting to meet alone with Marc himself.
[The Player] walks into a tent that is set-up in a private location outside of the army campground.
6 men are situated around a very large table. At the center is a lamp, emitting a small light that fulfilled the minimum requirement needed to keep the room aglow. [The Player] takes a seat at the next available chair amongst the throng of men.
Kaiser: "Old man [Player]?! This night is full of surprises!"
Proth: "Quiet down you brute! The object of us meeting here is to avoid detection, believe it or not."
Mesrae: "No need to worry about that, Proth. Marc did well choosing this location. You'd have difficulty spotting it with the sun beaming down on us at high noon."
Kaiser: "Exactly. So keep your beard on, O' ancient one. The worse harm my beautiful voice can do is help my fellow Glory men find their way to this infernal camp."
Jaxl: "Help is putting it lightly. It's more like setting a vocal beacon."
Mesrae: "Oh ho? And what say you to that Kaiser?"
Vincent: "A mouthful I wager."
[The men laugh]
Kaiser: "A man offer's a helping hand and is ridiculed. Ungrateful lot..."
[From the front of the tent, Marc enters. Jaxl, sitting, sprouts to his feet]
Jaxl: "Welcome, Sir Dolov!"
Kaiser: "Sit down, boy! Damned over-eager pup."
[Jaxl sits down as Marc chuckles]
Marc: "Be mindful, Kaiser. He is young after all. From stories I've heard, you both share similar qualities."
Proth: "That indeed, as I recall. Reckless to the bone. Reminiscent of a certain someone that we all are here to profoundly discuss."
Marc: "Aye, and I shall not waste your time. But, before I begin, I wish to thank you all for your gratuitous attendance. I know that what I have discussed with each of you individually is a dicey subject that places us in a dangerous position."
Mesrae: "Too dangerous for Jamasen, I assume?"
[Marc hesitates]
Marc: "I fear Jamasen would not have complied with my ideals. In fact, had I been straightforward, I'm positive he'd have slain me where I stood. It is best that what we discuss here is not shared with him."
Jaxl: "If he is not our ally, then he will become our enemy."
[The Player]: "Let us deal with that when the time comes."
Marc: "Seconded. Our top priority is this war, and I shepherd you all here with the affirmation that you wish to see it abated and dismantled as soon as possible.
[The men shake/nod there heads. Or say aye. Some form of annunciation towards the question]
Marc: "Well I stand here to say that, with Vincent's aid, a way has been discovered."
[Marc places a parchment on the table in front of him]
Marc: "This here is an edict from the King of Alfina. A proposal for peace."
[Kaiser bursts out laughing.]
Kaiser: "An Edict from the King? Of Alfina? You can't possibly expect us to believe that."
Proth: "For once, I agree with Kaiser. The Alfinites destroy any letters sent from the Einstad kingdom. Which means..."
[The Player]: ".... you would have met him in person."
[Jaxl jumps to his feet]
Jaxl: "You're telling me you two waltzed into Alfina territory unprotected?!"
Marc: "Now, now, trust that we understood that there were many things at stake, an-"
Mesrae: "Many things? I am not sure you realize the turmoil we'd have been in had both your bodies returned in a coffin. How could you possibly have done something as brash as this without consulting us first?!"
Vincent: "Because of the current reactions on display!
[Vincent stands to his feet beside Mesrae]
Vincent: Had we placed this on the table for discussion, it would have set fire in an instant. If you wish to blame anyone, blame me. I convinced Marc to execute the plan, so belay saturating us in your misgivings. What's done is done. I was certain that the King's audience was ours once we offered ourselves, two of the most important assets of Einstad's military, to his front gates. Believe me men, he did, and there lies the proof.
[Marc slides the parchment into the middle of the table]
Marc: [The Player], I want you to open this. Vincent and I already know what its contents hold. But, to ensure trust among us, I wish for you to read it aloud. Though I doubt nary of us would question your honesty and truthfulness, I offer the floor to any man who objects. 
[The room stays silent. The player reaches forward and takes the parchment in his hands. He opens the letter, and unfolds it]
I, Halberg Alfina, issue this edict of peace on behalf of Marc Dolov and Vincent Hamric, Strategists and Court Advisors of Einstad. Upon the completion of the tasks listed below, the Kingdom of Alfina will document Einstad's position in the war as that of surrender, and will allow the retreat of the Einstad militia without chase, as well as the emancipation of Einstad captives.
The Kingdom of Einstad's position of surrender will be noted upon the assassination, and delivery, of Keiv Einstad, Tulrek Einstad, and Eman Einstad. Upon delivery of the three bodies, two court officials of Alfina must be stationed in Einstad. These officials are to be present at every high court meeting, sending letters to Halberg and the Alfina court until Einstad is no longer considered a threat. Only King Halberg possesses the auhority to retrieve the two court officials. Failure to deliver the bodies or to deliver weekly letters to the King will result in a cancelation of the edict, giving Halberg Alfina no choice but to infiltrate and overthrow Einstad."
[The player places the parchment on the table. There is a stale silence. It is shattered by Kaiser, who slams his fist upon the table, making the latern jump ]
Kaiser: "Damnit, I... I say we do it. We have too much at stake now. Our homes, our families... With the King gone, an opportunity for reconstruction surfaces with us, the Glory 8, at the helm."
Proth: "Wait a minute. How can we turn on our King so quickly? Albeit the war a rash change of heart, the King's intentions are pure."
Mesrae: "Dear Mage, naivety is not your color."
[Proth gasps, insulted]
Marc: "Proth, your knowledge of the King far exceeds that of any person sitting at this table. Can you look us in the eye, with an unwavering conscious, and say that our King will walk a changed man if we win this war?"
[Proth's demeanor slowly sinks to contempt and disappointment]
Proth: "... Nay. But as his followers, we are to see him to the end, are we not?"
Jaxl: "I fight for the just, kind-hearted, and respectable. I refuse to give my life for a man crippled by greed."
Kaiser: "... and irresponsibility. The King plans to make this a numbers game by sending out hoards of soldiers until Alfina has nothing left. Babes, men. He's sending babes. Boys with barely a hair on their armpits let alone their manhoods. If this is what must be done to ensure our future, no, our children's safety, then so be it. "
[Marc turns his gaze to Kaiser]
Marc: "So I have your arm then, Kaiser? You will assist me in the coup d'etat of Keiv Einstad, to support me in saving our dying nation?"
Kaiser: "Yes. I, Kaiser Shic, offer my arm to you, Marc Dolov."
[Marc turns to Proth]
Marc: Proth?
[Proth hesitates for a second]
Proth: I, Proth Estin, offer my arm as well."
Marc: "Ja-"
Jaxl: "I offer my arm, legs and lance to you, Marc Dolov."
[Kaiser rolls his eyes]
Marc: "Mesrae?"
Mesrae: "My arm is yours, brother."
Marc: "[The Player]?"
[The player sits silently, and the screen slowly fades out]
A huge thanks to anyone who leaves feedback. I realize that I am asking you to read a good deal.



#5020852 Constructive Criticism of Soundtrack in Progress

Posted by on 12 January 2013 - 03:30 PM

Hey Kristoff! Thank's alot for the helpful information! I'll definitely take this into consideration. I'll post back here when I have updated the piece!

#5016461 Demo reel 2012 - Do you think I'm ready for contract work?

Posted by on 01 January 2013 - 02:31 PM

Hey Jonah! I listened to your entire demo reel and I have to say that I think your stuff is very good! I am really new to the free-lance composition scene. Like you, I have a lot to learn as as well as many areas to improve on (I, for one, struggle with balance, which I think you do a fantastic job with. To the point that I actually went back through my music to compare!)

I honestly don't have much to add outside of what Moritz did a wonderful job of explaining. As far as compositonal skills, you need not worry. The difficult part is branching out to find other clients. Be professional, be inviting, be cooperative, and be yourself!

As far as knowing when, I never knew. I just did. Many of the first games I composed for were no-budget games. I only recently landed myself a few jobs creating music for games that are actually going to be sold commercially, with a professional flare. I've only recently gotten my feet wet and, even then, I have plenty more soaking to do. I basically went in with each job, and worked as hard as I could. The best that I could. Gave my all and tried to be as understanding and helpful as possible. The only thing I knew was that I wanted to do this (compose music for games), and I was going to work my hardest to make it a possibility.

As far as clientele, it has been a combination of seeking out clients, to a kind word whispered between developers. Moritz's bit on networking is key.The videogame industry isn't big at all, and knowledge about you gets out due to word of mouth. Unless you're big or getting there (like Austin Wintory), your best bet is to find clients. But also take time to get to know developers. Even some in your local area. Go to game conventions, stuff like that. Anything to build relationships.

#5014742 Branching Into A More Professional Audio Sound

Posted by on 27 December 2012 - 11:22 AM

Hey! Really helpful stuff here. I hope I don't come across as afraid in regards to spending the money, as if having seconds thoughts. I want to assure you guys that I wholeheartedly want, and plan on, investing money into this career. I'm really shocked at the amount of money you dished out at the beginning of your career, Brian. But, when I harbor over the idea and realize what it takes for someone to initiate a hobby that will in turn produce revenue, 20k for a business, so to speak, isn't unheard of.

As far as orchestral compositions, I want to do a little bit of everything, but the reality is that majority of game devs are wanting orchestral music. It's practically a must have (not that I have a problem with it).

Thanks a lot for the advice guys! It means a lot.

#5002416 How much am I expected to integrate sound into a game?

Posted by on 19 November 2012 - 01:31 PM

Such a great thread. I will admit that I would really like to get more into sound design. I'm really not that good, but I definitely want to take the correct steps needed to have a firm foothold on that particular sound aspect.

How much are sound designers expected to integrate this sort of thing?

That would depend on how much you want to make yourself more valuable to the industry. Posted Image
If you learn the skills to be able to do that, not only will you be in more demand, but you'll be able to command a higher wage than someone who only creates the sound, expecting that someone else will take care of the integration.

Great response to a great question. I know that I am one of many who would like to try their hand and imrpove their skill at sound design/implementation. Plus, being in demand ain't half bad either. Are there any things that we can do, as upcoming sound musicians, to gain experience with that kind of thing? I looked up FMOD and had a brain aneurysm when I saw the prices. The closest I have gotten to sound implementation is RPG Maker, which isn't saying much.

#5001550 Doing what I know (Rock) vs. learning something new

Posted by on 16 November 2012 - 09:11 AM

I think this may all depend on exactly what YOU want. When it comes to composing for media, you kind of have to be versatile. But the most important thing, you should LOVE doing what you are doing. It should never feel forced. I experienced this a couple of months ago. I was contacted by someone who wanted me to write reggae music for a singer of his.

Now, I absolutely LOVE reggae. But... I love traditional reggae. And traditional reggae wasn't what this guy was looking for. He wanted more of the mainstream reggae that I am not too fond of (plus his singer used a lot of electronic sonorities that I highly disagree with, like autotune, plus I wasn't impressed at all by his lyrical ability).

Needless to say, I didn't work with them, and the reason I didn't was because the more I wrote, the more I started to despise what I was doing. If instrumental rock is what feels right to you, do that! There are going to be projects out there that are going to need it. Heck, I had a project where I was doing a instrumental old school, westernish rock soundtrack (of course it fell flat on its face), but had it pulled through, it would have been a pretty sick game. But, more importantly, if you do what you love, and do it well, people will come to you wanting music, be it playing at venues or writing for a game.

Oh, by the way, I'm really digging the heavy stuff man. One dream I've always wanted to make a reality was performing in a metal band. Something like Gojira! (I think I'd be a pretty good rhythm guitarist, but I'm not really good at lead)
I hope you start another one! You guys had potential.