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What do game developers want from a composer/sound designer?

Hi Guys

Was wanting to know a game developers perspective on what they might want from a composer/sound designer? Are there any industry standard sample rates and bit depths you guys look for? do you use reference tracks? and finally are there any industry standard Audio Game Engines?

Sorry if it seems like a lot of questions, just trying to get a gauge as to what is expected.

All The Best
JDComplex

Humm how to answer the unanswerable.

Most of what you ask is a specification based on what engine is being used so has little to do as to what is expected as to a skill level of the individual. In other words I’ll tell you what to do after you have done your thing.

After that it’s more about you ability to “read” the flow and theme of the game and your ability to add a rather subjective narrative that “adds” a hook to an other wise lack luster presentation.

Example A

https://www.youtube.com/watch?v=cs-giG4dAJ8

Not bad but soundtrack makes little effort to add a narrative so adds little to the final result.beyond a single play through

Example B

https://www.youtube.com/watch?v=7FxyXwfMZgA

Ignoring the lens flare, all the rage in 2010, The same soundtrack but the image sequences are ordered in a way that matches the narrative of the lyrics, and on the beat, that the viewer is motivated to watch more than once to catch all of the small details.

So as a personal opinion I would look for someone who can add to the flavor that motivates me to want to replay a level and not just do what I tell them to do.

P.S. my fav as an example is still Quake I done by NIN/ Trent Reznor

#1.
Read around, but the editor has strict WAV requirements and doesn’t even allow MP3 for prototyping:

#2.
Content, Content, Content… More generic sounds and soundscapes that cross lots of game genres.
Too many times sound designers / composers lock themselves into a genre, that doesn’t cross-over.
What do I mean? They use tacky sounding ‘afterburner’ pads that are only suitable for ‘arcade’ Sci-Fi.

Whereas quality atmospheric / ambient, scary / horror soundscapes can be used in many game types.
Another issue is writing pop & classical driven orchestral pieces that are too recognizable to risk using.

Also something I don’t get, is why composers don’t offer 10-types of each tune re-mixed in-sequencer?
This would give more options to both the composer and the gamedev end-user. This is what I would do!
Its not like writing the tune over, its just doing a different version of the same composition only differently.
At music college this was a routine exercise and sometimes a pain to do etc… But it makes sense here!

#3.
Avoid copying what’s already available: overpriced-and-questionable-qualityfree-but-high-quality

We want Modular Music Sequences, Patterns, Fillers, set at a specified tempo (130) that can be dynamically composited, mixed, transitioned in-game in real-time. Some of us Game Developers are using in game Sequencers and Mood Juke Boxes controlled by state machines. Modular Music design would provide more flexibility and replay.