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Navigating the Challenges of Game Audio: From Hobbyist to Professional Composer

Explore the intricate world of game audio production with industry experts Andrew Aversa, Jillian Aversa, Jimmy Hinson, and Wilbert Roget II. This panel discusses the transition from hobbyist to professional, covering essential topics like freelancing versus in-house work, required skills, recommended gear, and networking strategies. Discover the rewards and challenges of being a composer or sound designer in the gaming industry, featuring insights on job security, personal branding, and managing your work-life balance. Equip yourself with the knowledge to thrive in this dynamic field.

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Navigating the Challenges of Game Audio: From Hobbyist to Professional Composer

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Presentation Transcript

  1. The Soul-Crushing World of Game Audio Making Music: From Hobby to Profession

  2. Your Hosts: Andrew Aversa (Monkey Island 2: Special Edition) Jillian Aversa (God of War: Ghost of Sparta) Jimmy Hinson (Mass Effect 2) Wilbert Roget, II (LucasArts, The Old Republic)

  3. Select Your Destiny Freelancer vs. Inhouse Indie vs. AAA Composer vs. Sound Designer vs. Performer / Session Musician Horribly Overworked

  4. Freelancing Choose your own hours (sort of) Be your own boss (sort of ) Work from wherever you want Potentially more free time for side projects Full control over which gigs you do and don’t get Greater potential for more $$$ … if you ever get a gig

  5. Inhouse Social, work with other talented people Work ranges from sparse to I-want-to-kill-myself Job security (sort of) Benefits Access to great audio facilities + gear Direct access to the ‘client’ Minimal control over projects taken Minimal control over work location, time

  6. AAA/Mainstream Development Main focus of this panel Big budgets, scopes Far more personnel involved More emphasis on deadlines, results, scheduling Harder to break into Very rewarding

  7. What Do I Need? A good attitude! The ability to be nice and generous (but tough when necessary) Social skills Personal hygiene Motivation and determination Thick skin A day job

  8. WHAT OTHER SKILLS? A solid grasp of music theory + arrangement At least one style you do very well (elec, orch/classical, jazz, etc.) An ear for mixing/mastering Basic transcription, chord recognition No formal degree needed Practice is most important – transcribing, studying scores, listening + writing

  9. RECOMMENDED GEAR Recording: $100-150 condenser mic, $200-300 interface/preamp Isolation: $130 Sorber Baffle Monitoring: $100-200 headphones DAW: Cubase, Sonar, REAPER etc ($30-500) Samples/Synths: Komplete 7 ($400-500) Orchestral Sounds: QLSO Silver/Gold ($100-300) Mastering Tools: Ozone, T-Racks ($50-250) Budget ~$1000 for a pro-capable setup Production quality is KEY

  10. Breaking In Networking is key, but don’t force it Organic connections + friends Not JUST gamedev friends, but audio friends Be active in seeking gigs/work but… Don’t be afraid to branch out (music libraries, sampled instruments, session work) Start with indie games, mods, student projects (good for lasting relationships) Maintain + update demo reel(s) + website

  11. NETWORKING RESOURCES #1 by far = Game Developers Conference (GDC) San Francisco, CA – Feb/March If nothing else, go to that Get involved w/ local game devs (IGDA) Go to meetups + gamejams Join GANG (our trade organization) Online communities of interest: IGDA/GANG forums, GameAudioForum, TIGsource, GameDev Keep up on gear/trends: KVRAudio, VI-Control

  12. THE BUSINESS END Protect yourself, DON’T sell yourself short Every gig needs a contract – even a simple one DON’T give away rights w/o big $$$ Low-budget, no-budget? Ask for royalties, soundtrack rights, or: Barter for album art, web design, resume/cover letter templates, press releases, biz cards, video content… Prepare yourself for possibility of not getting anything in return on indie/student

  13. THE BUSINESS END Mainstream projects pay per minute ($800-1500 for console/PC) or project rate PSP/DS might go down to $250-300/min XBLIG, Flash, iPhone – Depending on dev, $50-100/track to $500/min How much time will it take you? Do the math $300 per min, takes 2 hours = $150/hr $800 per min, takes 10 hours = $80/hr Session work: $100-400 per track, or hourly ($50-100 per hour) – check w/ union too

  14. MANAGING WORK Any project can become time-consuming Build a network of trusted musician/composer friends Better to say “yes” and delegate, ghostwrite + collab than to say “no” Again, reliability, results + scheduling is very impotant Spend money if necessary to get the job done right (but don’t lose money on the gig)

  15. PANELIST Q&A

  16. AUDIENCE Q&A

  17. RESOURCES GDC: www.gdconf.com IGDA: www.igda.org GANG: www.audiogang.org KVR: www.kvraudio.com VI-Control: www.vi-control.net TIGsource: www.tigsource.com GameDev: www.gamedev.net GameAudioForum: www.gameaudioforum.com AudioMIDI (gear!): www.audiomidi.com BH PhotoVideo (more gear!): www.bhphotovideo.com

  18. THANKS FOR COMING! Andrew – www.zirconmusic.com Jill – www.jillianaversa.com Jimmy – www.biggiantcircles.com Will – www.rogetmusic.com Will & Andrew – www.impactsoundworks.com

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