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Sean R Beeson

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About Sean R Beeson

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  1. Sean R Beeson

    price factor: game music

    I always write music with the intention that it could be worth of an award since you never know who is playing the games. I also always write music in hopes I can resell it down the road, to other games, films, trailers, tv, ect. Also, if I am not paid what I feel is a fair price, I simply won't take the work or will bargain with them until a compromise can be reached :-D That way I an ensure they are getting the highest quality music possible and that I am getting compensated fairly! I say always do your best, and the best things will always come from it.
  2. Sean R Beeson

    Recent release, wanted to show off )

    Nice :) Looks sweet to me, and sounds good to boot!
  3. Sean R Beeson

    New Composition Contest (Results are IN!!!)

    There were a LOT of great entries! Congratulations to all who entered :)
  4. Sean R Beeson

    New Composition Contest (Results are IN!!!)

    Some good-uns :) Can't wait to hear all of them!
  5. Sean R Beeson

    The usual roundup of beer

    Quote:Original post by Michael_somnes Alright, i'll ask how much that is compared to what he's selling ordinary Gold for, as it is now he's selling EWQL for a palprice of $200 :D Just make sure you have an authentic copy! You don't want to find out that your version has already been registered :) hehe
  6. Sean R Beeson

    Music for games

    Quote:Original post by Dannthr Game Music is best described as music that is in games. Similarly to Film Music, which is music found in films, Game Music is simply music that is found in games. Game Music is comprised of as many musical genres and sub-genres available, so long as it can be found in a game or will be put into a game. However, one special aspect of Game Music, in the same way that Games are special when compared to films, is that it is often interactive. Because of this, it is ideal to find a game musician who is comfortable composing dynamic and interactive music. Of course, the music should fit the content of the game itself. Gotta agree with Dan. Any music can be game music as long as you can find a game for the music to go in :) There are game scores that are classical sounding, impressionistic, experimental, jazz/big-band, this, that, something :) As long as the music is good for the most part, it can find its fit in a game hehe
  7. Sean R Beeson

    New Composition Contest (Results are IN!!!)

    Good luck to everyone, I shall be lurking on these boards :)
  8. I personally feel that someone needs to put this to great use :) Don't get me wrong, the Liquid series were ok, but the interface could be tedious at times. I wonder if it can pick out all of the pitches of an orchestral recording hehe :)
  9. Sean R Beeson

    10% off! Tsaiko: The Taiko Drum Library

    Quote:Original post by Rain 7 Lovebump. I'd LOVE to buy this as some point. The samples sound absolutely incredible! How'd you go about recording these? TOP NOTCH work. Very carefully :) Nah, basically just with a lot of microphones and as many coloration positions as possible.
  10. Sean R Beeson

    10% off! Tsaiko: The Taiko Drum Library

    Many thanks Maestro :)
  11. Sean R Beeson

    10% off! Tsaiko: The Taiko Drum Library

    Quote:Original post by MaestroRage This stuff is incredible! I couldn't race to my wallet fast enough! Some questions that come to mind also 1: You've already mentioned the velocity layers, this means that the percussion patches will have alternate sounds depending on how high/low the volume is correct? 2: Do you intend to upgrade/expand this package any further, and if so what will be your policy on upgrading? *ie, will you let me upgrade at a reduced price, or will I be purchasing the package separately* 3: What other products are you planning in the future? thanks! Downloaded and going off to bust out some rhythms with! Sorry I didn't see this earlier. 1. Yes. I am sure you are playing with this right now :)! 2. I am not sure what is going to happen immediately with Tsaiko and the updates. Stay tuned :) 3. As for new products. I wish I had the budget to sample a ton of stuff :) Also stay tuned, as anything could potentially happen hehe. Thanks, Sean
  12. Greetings Gamedev, My name is Sean Beeson, and I am a composer who has posted here quite a bit in the past. I just wanted to drop by and make a post about Tsaiko: The Taiko Drum Library, a personal project of mine with help from a few others, for the last seven months. This is a great taiko drum percussion library, and is very affordable for composers of any age and status. However, don't let the price tag fool you, as it is jam packed with A LOT of patches, mic positions and samples. (More information below.) This bundle includes not only the original Tsaiko, but also the expansion sounds. Thanks for checking this out, Sean SALE INFORMATION Tsaiko is currently 10% off from the Tsaiko Store from now until the end of the Game Developers Conference in February. (the 22nd to be exact!) To receive 10%, when prompted from the store to input a coupon code, use the code: gdc 10% will then be taken off of the order in your shopping cart. Tsaiko will also be receiving a free library update sometime in the near future as well, so stay tuned! - - - - - - - - - - - - - - - After a short delay, I am here to announce the release of the Tsaiko Expander! The expander is a free update for all previous buyers of Tsaiko, and is included in all future purchases from the the Tsaiko Store for free. Tsaiko Store Tsaiko Website - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - INFORMATION ON THE EXPANDER So what exactly does the expander add? - Almost 400 mb of new samples. - Recorded in the same hall as Tsaiko, featuring the same mic control options. - Includes stomps, shouts, HAs, growls, Grrs, and other pseudo-manly sounds :) - Includes nearly fifty patches, including some like "Disgruntled Wookie" - The user has access to ALL of the original wave files. Combined with Tsaiko, the total package currently has over 5,000 samples of taiko drum hits, (near 2.2 gb), and around 100 patches. If you have any questions feel free to ask. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - INFORMATION ON THE ORIGINAL The taiko were recorded in a concert hall from multiple perspectives to allow for the most user control. - - - - - - - - - - - - - - - - Demos - - - - - - - - - - - - - - - - Tsaiko Demo 1 -christianb Tsaiko Demo 2 -Dan Reynolds Tsaiko Demo 3 -scoredog Tsaiko Demo 4 - Tom Salta Tsaiko Demo 5 -Justin Wasack Tsaiko Demo 6 -christianb Tsaiko Demo 7 -Michael Barry Tsaiko Demo 8 -Kai Bartosch - - - - - - - - - - - - - - - - Website and Store - - - - - - - - - - - - - - - - Tsaiko Store Tsaiko Website - - - - - - - - - - - - - - - - Tsaiko, is a multi-sampled taiko percussion library with the premise being user customizability of ambience and tone. It includes: Thousands of taiko samples - Left and right-hand hits. - Dozens and dozens of velocities. - Individual and unison ensemble hits from four taiko. - Head hits, shell hits, and stick clicks. - Recorded in 24-bit, 44KHz. - Almost 2 gb of taiko samples. Microphone Perspective Control - Recorded in a concert hall from various locations. - Balcony, in-hall, stage, and a close "three-set" microphone perspectives. - Each taiko was recorded from three-set close perspective to capture subtle nuances. - Top head, bottom head, and overhead microphone position. Customizability - User has access to all wave files/samples. - User can add or remove any microphone perspective they wish. - Includes almost fifty patches. - Includes scripts to help control microphone perspectives. - - - - - - - - - - - - - - - - Minimun Requirements SAMPLER: Kontakt 2: Version or newer. RAM: At least 512 mb RAM HD SPACE : At least 2.2 gb of hard drive storage You will also need a program to "un-zip" the .rar file - - - - - - - - - - - - - - - - NOTES ON PURCHASING After payment is processed, you will gain access to the download via the "account" page. You will have two chances and 48 hours to download the product, if for some reason your download cannot be completed, please contact me, and I can get you fixed up right away. Thank you for checking this out, Sean Beeson
  13. Sean R Beeson

    Commercial Software Packages under 100 dollars

    Quote:Original post by destron Hey, music has 'intrigued' me for a while, and I've been searching around for free VST hosts/sequencers/etc, and have finally come to the conclusion that I'm going to have to pay for what I really want. I've tried free programs like Psycle (which I currently use), but none really seems to have the power and ease-of-use of programs like FL Studio and Acid. Right now, I'm not looking for something top-of-the-line (read: not Logic Pro), but something that can create good-quality audio. At this point, I'm pretty much set on either FL Studio "FruityLoops" Edition ($99), or Sony's Acid Music Studio ($59). If you have any other suggestions, please post them. :) From what I can tell, Acid Music Studio is more for hobbyists (it seems to focus on music creation through pre-made loops). FL Studio seems more like what I want, and relies more on samples and has better built-in software synthesizers. What do you guys think? The Magix line of sequencers is priced under $100, and is actually quite robust.
  14. Sean R Beeson

    How much $ would you charge?

    Quote:Original post by Muzo72 Quote:Original post by Sean R Beeson Per minute in games isn't so bad if you can demand the high per minute rates( in the mid 1000's and up) and get 25-40% of it upfront but that can be a rarity. The nice thing about per minute rates is that you can keep "your rate" even if the music projects change, however as Muzo excellently pointed out, this can be a double edged sword. Double-edged, indeed. The all-in, per-minute pricing may work sometimes on small projects with simple music requirements. However, it doesn't scale well to larger projects. Just for the sake of discussion and education, let's look at the math and see how it shakes out if the developer wants a live "Hollywood" orchestra sound. (I'm going to round numbers for simplicity.) $1500/min X 60 min of music = $90,000 total budget. At first glance this seems like pretty good money. Let's assume that the average tempo of the music is 100 bpm. That's not too fast and would give us about 1500 measures of 4/4 time. Let's further assume that you hire a good orchestrator and he has agreed to work for the new American Federation of Musicians or AFM minimum videogame buyout rate. (Note that many orchestrators charge over minimum scale.) Under the current contract, this means the developer will not have to pay any "back-end" royalties, residuals, or re-use fees to the musicians. The developer can own the music and use it however they like. Developers LOVE that idea. Let's also assume that we need a moderate size orchestra plus choir. Lots of developers love an epic sound so we'll try to give them something close. That would mean the orchestrator will be dealing with about 35 lines or so of orchestration. Given 1500 measures and 35 lines, the orchestration bill would come in around $25k, maybe $30k depending on the situation. So orchestration alone will eat up most if not all of the upfront money. Let's assume you got a 40-piece orchestra in the USA. The orchestra might be something like this: 1 flute 1 oboe 1 clarinet 1 bassoon 3 tpts 4 horns 3 tbns (Deveolpers seem to like full brass sections, but we'll forego the tuba. Plus our orchestrator has some ideas for giving the bottom end a bit more punch.) 12 - 16 violins (exact number will depend on the composition) 4 - 6 violas 4 - 6 cellos 2 basses We'll have to watch the balance of the sections with this lineup, but thankfully we've hired a good orchestrator. We'll also have to lay the percussion down in a sequencer and bring it to the session as pre-lay. If we want the percussion live, we could probably lose a few strings, but we then might want to record the strings separately. (Again, our orchestrator is good so he can advise us on this.) Plus, we'd have to think about cartage costs for the percussion instruments. Given the above list, the musician costs for one day (two 3-hour sessions, no overtime, no doubling, and not including cartage), would be about $25k. Add this to the orchestration bill and now over 60% of your money is gone. We still have to pay the engineer, music copyists, and the studio rental, and this is only the first day of recording. No orchestra is going to finish 60 minutes of music in a single day at an acceptable level of quality. However, by the end of the second day, it's likely all your money would be gone. Even if we bump the per minute rate up to $2000, the total is still only $120k. That epic live choir is still looking unlikely if the composer wants to make any money at all. If the per minute rate jumps to $2500 the total would be $150k. You'd then have a fighting chance at getting it all done (maybe without the choir) without losing money, but you'd never make a living that way. You can see how all-in per minute composing fees quickly break down on large-budget projects. This is why there is a shift to a creative fee for the composer while the developer picks up the other expenses. That way, if the developer wants a big, Hollywood orchestra, the composer can say, "No problem, it's your money. I can give you what you want!" This is more akin to the Hollywood film scoring model of budgeting. I've seen more than one composer fall into the per-minute of music trap and think they could deliver a live "Hollywood" score. They always end up having to compromise somewhere. Usually it means hiring a hack orchestrator or the composer orchestrates himself if there is time (often there is not time). They also end up running off to far parts of the world to record with orchestras that have little contemporary recording experience at locations with weak studio infrastructure. It's the only way the composer can do the job and still pay the mortgage, and keep the kids fed and clothed. I deal with this stuff for a living, and the numbers here feel about right. But please remember that these numbers are hypothetical. Every project is different. I don't want to get an angry, expletive-laden message from someone saying "I got my first big game contract and followed the numbers in your GameDev post. It was a disaster!" That's why you hire experienced professionals. [wink] So as long as the developer cover the costs of the orchestra, orchestrator, mixing, ect., you are good :) hehe But then again, if you can rake down $1500 a minute on a synthesized score, that isn't too shabby :) Great post Muzo, really provides insight into creative fees and $PM payment schemes.
  15. Sean R Beeson

    How much $ would you charge?

    Per minute in games isn't so bad if you can demand the high per minute rates( in the mid 1000's and up) and get 25-40% of it upfront but that can be a rarity. The nice thing about per minute rates is that you can keep "your rate" even if the music projects change, however as Muzo excellently pointed out, this can be a double edged sword. I have worked on games where I can write 10 minutes of the soundtrack in 3-4 days, whereas recently I have been working on a game that requires 10 minutes of action music and it takes a considerable longer time. Also to note, in line with what Muzo stated, in one game I scored, there was about 7 minutes of music in 5 tracks, each of them varied a bit, but had roots in each others, whereas another had 10 minutes of music, a large portion of which were 20 second clips, which isn't too bad, except for all of the styles were different and being able to write action cues for 20 seconds that can sound good is a bit more challenging that writing 7 minuntes of "same" music. I guess you just have to know when and how you can come out with the upperhand :)
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