VG Music

I am a music supervisor who is exploring the wonderful world of video game music. I'm trying to ascertain what types of music work with which types of video games and if there are any links to places where I could truly get my hands dirty with researchable information. Are there any production companies who specialize in VG music? What kinds of artists are typically licensed for VG music? Who are the names in this niche industry? What are the primary genres? thanks, any info will help!

All Ears Music

first...

You should start playing some video games. Get your hands on some of the big hits that were released the past few years. This is the best way for you to get your "hands dirty". Game music can of course be listened to without playing the game, but that's generally NOT the way it's meant to be. Therefore as I said, if you really want to see what works with what game, you should start playing.

cheers,

-avatar!

>I am a music supervisor who is exploring the wonderful world of video game music. I'm trying to ascertain what types of music work with which types of video games and if there are any links to places where I could truly get my hands dirty with researchable information. Are there any production companies who specialize in VG music? What kinds of artists are typically licensed for VG music? Who are the names in this niche industry? What are the primary genres? thanks, any info will help!

let's hear some jaded commentary...

>I am a music supervisor who is exploring the wonderful world of video game music.

Congrats on finding your way to our community here, but maybe you mean that you're looking to expand the avenues of revenue for some client roster that you're representing, and hoping to inject their works into some games.


>I'm trying to ascertain what types of music work with which types of video games and if there are any links to places where I could truly get my hands dirty with researchable information.

Well, that's a "self-defining" role, which has the duality of being both obscenely obvious yet vastly open to interpretation at the same time.

Example: What type of dance music works best in a nightclub? The answer describes itself: any music that makes you dance.

What to use for a puzzle game? Music that doesn't get tiring after long listening sessions.

Find the emotion in which the onscreen gameplay is about, and create music that evokes that emotional response.


>Are there any production companies who specialize in VG music?

Most well known gaming publishers do all of this in-house when developing their own games, so it's not like there's much need for outsourcing to get this "trivial" task of sound development done.

Any outsourcing to a seperate Audio Production company would mostly be on post-production specifics (such as needing multi-language Voice-Overs for regional localizations).

And that's hardly systemized enough to point out any go-to places for an instant fix, game publishers use a multitude of existing audio studios for stuff like that.

If you want any specific names to start with, you'd have better luck reading through the Ending Credits / Staff Rolls on a bunch of current games to get info there.


>What kinds of artists are typically licensed for VG music?

Sadly, this happens when a developer wants to make a game "Hip" with young teens and thus resorts to licensing any music group who currently has a top selling Single on the Rap charts and goes to license their song.

Again, most game companies have in-house composers and sound designers, so there's no need to inject any pop-star licensing power, since cross promotion among differing medias tends to be disasterous.

Preferably there would be no outside licensed music in games, because game music works best when it's an original work created specifically with the game's style and vision in mind.

But since your business seems to want to do this though, I'll bluntly state that this route is not going to be at all profitable for your clients.


>Who are the names in this niche industry? What are the primary genres?

Names? Game companies haven't ever given much props to invidual people, so it's all about playing for the Company Team.

Pretty much every musical style in existance has already been used in games, so there's no need to try limit things to pre-packaged genres.

I've already gotten music into Grand Theft Auto, Microsoft Online, The 2nd Vice City, Mattel products, I'm merely looking for friendly advice...I already have the access. You have way too much time on your hands.

>>I am a music supervisor who is exploring the wonderful world of video game music.
>
>Congrats on finding your way to our community here, but maybe you mean that you're looking to expand the avenues of revenue for some client roster that you're representing, and hoping to inject their works into some games. (Correct Einstein!)
>
>
>>I'm trying to ascertain what types of music work with which types of video games and if there are any links to places where I could truly get my hands dirty with researchable information.
>
>Well, that's a "self-defining" role, which has the duality of being both obscenely obvious yet vastly open to interpretation at the same time. (spooky, ain't it?)
>
>Example: What type of dance music works best in a nightclub? The answer describes itself: any music that makes you dance. (again with the redundancy)
>
>What to use for a puzzle game? Music that doesn't get tiring after long listening sessions. (I don't recall asking for that, but thanks)
>
>Find the emotion in which the onscreen gameplay is about, and create music that evokes that emotional response. (the one nugget I will take from your rant)
>
>
>>Are there any production companies who specialize in VG music?
>
>Most well known gaming publishers do all of this in-house when developing their own games, so it's not like there's much need for outsourcing to get this "trivial" task of sound development done. (already know that)
>
>Any outsourcing to a seperate Audio Production company would mostly be on post-production specifics (such as needing multi-language Voice-Overs for regional localizations). [same]
>
>And that's hardly systemized enough to point out any go-to places for an instant fix, game publishers use a multitude of existing audio studios for stuff like that. (you'd be surprised at the amount of outsourcing there iis)
>
>If you want any specific names to start with, you'd have better luck reading through the Ending Credits / Staff Rolls on a bunch of current games to get info there. (fair enough)
>
>
>>What kinds of artists are typically licensed for VG music?
>
>Sadly, this happens when a developer wants to make a game "Hip" with young teens and thus resorts to licensing any music group who currently has a top selling Single on the Rap charts and goes to license their song. (sigh...back to jerking off incessantly)
>
>Again, most game companies have in-house composers and sound designers, so there's no need to inject any pop-star licensing power, since cross promotion among differing medias tends to be disasterous. (this is where you're wrong, actually. the trend is for playlists and, unfortunately for you, that will be the future)
>
>Preferably there would be no outside licensed music in games, because game music works best when it's an original work created specifically with the game's style and vision in mind.
>
>But since your business seems to want to do this though, I'll bluntly state that this route is not going to be at all profitable for your clients. (again, wrong)
>
>
>>Who are the names in this niche industry? What are the primary genres?
>
>Names? Game companies haven't ever given much props to invidual people, so it's all about playing for the Company Team. (nerd alert)
>
>Pretty much every musical style in existance has already been used in games, so there's no need to try limit things to pre-packaged genres. (again, fair enough)
>

>The 2nd Vice City

I think I missed that one! What system did it come out for?

>>The 2nd Vice City
>
>I think I missed that one! What system did it come out for?
>
Two versions ago through Sony. (GTA)

>>>The 2nd Vice City
>>
>>I think I missed that one! What system did it come out for?
>>
>Two versions ago through Sony. (GTA)
>

You know, you're speaking English but I can't understand you.

Oh, nevermind....

>You have way too much time on your hands.

Now there's a good way to garner positive responses. For what it's worth, you're discussing something of a touchy subject. VGM enthusiasts frown pretty heavily upon licensed music in most cases, as it trivializes and cheapens the art form that inspires them. You should expect harsher responses than Carl's.

Carl is somewhat mistaken regarding in-house audio, though. While some of the larger software houses can and do employ a few full-time musicians, it's more common in the west for music to be outsourced to freelance contractors. It's simply more cost effective. Still, most games are ill suited for licensed popular music, and game developers know that. It works just peachy for a Tony Hawk or a Grand Theft Auto or a Gran Turismo, but would be horribly out-of-place in much else.

Fair enough, but I believe there are ways to compromise. A lot of VG music have Baroque themes with reliance on counterpoint. Classical themes are prevalent throughout most major contemporary genres. There are definite connections.

>>You have way too much time on your hands.
>
>Now there's a good way to garner positive responses. For what it's worth, you're discussing something of a touchy subject. VGM enthusiasts frown pretty heavily upon licensed music in most cases, as it trivializes and cheapens the art form that inspires them. You should expect harsher responses than Carl's.
>
>Carl is somewhat mistaken regarding in-house audio, though. While some of the larger software houses can and do employ a few full-time musicians, it's more common in the west for music to be outsourced to freelance contractors. It's simply more cost effective. Still, most games are ill suited for licensed popular music, and game developers know that. It works just peachy for a Tony Hawk or a Grand Theft Auto or a Gran Turismo, but would be horribly out-of-place in much else.
>

compromise and connections?

>Fair enough, but I believe there are ways to compromise. A lot of VG music have Baroque themes with reliance on counterpoint. Classical themes are prevalent throughout most major contemporary genres. There are definite connections.
>


You are asking gamers who have played thousands of games and listened to thousands of game music soundtrack cds, and as such, we can assure you that classical isn't the prevelant or dominant source of music in games.

And just what type of connection would your compromise of insert existing licensed music into a game have to do with any of the above?

Who said anything about inserting existing licensed music? Approaching things with an open mind is better for your health Carl. Classical themes can be present without having it sound like classical music. Heavy metal borrows HEAVILY from Baroque concepts. Rock too. The Beatles made classical themes famous in their music. The evidence is plainly there.

I made zero mention of licensing music, we're quite capable of making it ourselves. In fact, we're all from the DIY ethic, the underdog (if you will). This is my company...I don't work for anybody else and I value the small company over large any day.

Relax, I'm not trying to water down the VG industry with crap-ola music. I'm on your side.

>>Fair enough, but I believe there are ways to compromise. A lot of VG music have Baroque themes with reliance on counterpoint. Classical themes are prevalent throughout most major contemporary genres. There are definite connections.
>>
>
>
>You are asking gamers who have played thousands of games and listened to thousands of game music soundtrack cds, and as such, we can assure you that classical isn't the prevelant or dominant source of music in games.
>
>And just what type of connection would your compromise of insert existing licensed music into a game have to do with any of the above?
>

>I made zero mention of licensing music, we're quite capable of making it ourselves. In fact, we're all from the DIY ethic, the underdog (if you will). This is my company...I don't work for anybody else and I value the small company over large any day.

That being the case, AudioGANG may be useful for you to network.

AudioGANG

more Cereal-Box freebie gimic games, nice...

>I've already gotten music into Grand Theft Auto, Microsoft Online, The 2nd Vice City, Mattel products, I'm merely looking for friendly advice...I already have the access. You have way too much time on your hands.
>

Putting 80's music into GTA Vice City is just as much as a "one time success" as the licensed Japanese songs put into Katamari Damacy, in which a secondary attempt on repeating the same tactics to get a similar level of sales success is barely effective.

Congrats on a one time success with GTA, but the same approach won't work on 99% of the gaming titles that actually have some credibility and aren't just freebie Cereal-Box gimic games.

Mattel Hot-Wheels games? Wow, the lure to create such a blockbuster for 10 years olds must be off the charts...

Try putting in some Eminem and 50-Cent, booyah!!

>Congrats on a one time success with GTA, but the same approach won't work on 99% of the gaming titles that actually have some credibility and aren't just freebie Cereal-Box gimic games.
>
>Mattel Hot-Wheels games? Wow, the lure to create such a blockbuster for 10 years olds must be off the charts...

Thanks about GTA. I'm also keenly aware it won't work with most other games as well. My company did music for an upcoming Mattal game not yet released (though the attempt at sarcasm is admirable).

Re: Katamari

>Putting 80's music into GTA Vice City is just as much as a "one time success" as the licensed Japanese songs put into Katamari Damacy, in which a secondary attempt on repeating the same tactics to get a similar level of sales success is barely effective.

Katamari music was composed (with some fitting themes arranged into the music) specifically for the game, with supervision from Keita Takahashi himself. You'll have to go into some really obscure j-pop to find something as quirky as Katamari. Same thing for Jet Set Radio, originally composed for the game despite sounding like (high quality) everyday music.

What he said.

Especially Jet Set....mmmm....

Check out George Sanger, aka The Fat Man...

He's been making game music since 1983, and still at it.

The Fat Man - Music for Games

thank you kindly, I truly appreciate your help.

>He's been making game music since 1983, and still at it.

Don't forget about the legendary Tommy Tallarico!

I know a perfect match to hook you up with...

Get some great advice from Tommy Tallarico, he's just the most fantastic and well known game music authority on the planet!!

LOL!! amazing nt

nt

Re: Don't forget about the legendary Tommy Tallari

>I know a perfect match to hook you up with...
>
>Get some great advice from Tommy Tallarico, he's just the most fantastic and well known game music authority on the planet!!

Muchas Gracias!

To be totally honest, I'd just go with avatar...

I think you got the best advice from avatar - simply take time out to play some games. You'll quickly start to learn how different games handle music and you can get people involved from the credits.

Without getting your hands dirty on the games themselves you're always going to have to rely on third parties to steer you.

There are also some good links to game music composers on this site ->

Japanese and U.S. music perspectives

Excluding licensed music from pop artists, for games made in the U.S., Tommy Tollarico is one of the more well-known freelance composers. As mentioned, George Sanders is also prolific. You should contact them, present your credentials, and see if you can get a dialogue going with them.

For Japanese-made games, it's a bit harder to contact musicians involved. However, you may want to contact Cocoebiz via http://cocoebiz.com/?display=contact&PHPSESSID=56a40204a313d39f6512ced0a48ba25f, which represents a few Japanese composers for projects not in Japan. Again, present your credentials, and then see if you are able to have a dialogue with some Japanese composers.

I agree with Avatar that besides interacting with the musician themselves, you should try playing games.

As a clear difference in music direction, pick up the Japanese soundtrack of any Gran Turismo game (www.cdjapan.co.jp or gamemusic.com should have them) and then compare that with the U.S. soundtrack, which has licensed music. It'll give you some ideas as to how different people approach game music.

Cocoebiz Contact Form

>Excluding licensed music from pop artists, for games made in the U.S., Tommy Tollarico is one of the more well-known freelance composers. As mentioned, George Sanders is also prolific. You should contact them, present your credentials, and see if you can get a dialogue going with them.
>
>For Japanese-made games, it's a bit harder to contact musicians involved. However, you may want to contact Cocoebiz via http://cocoebiz.com/?display=contact&PHPSESSID=56a40204a313d39f6512ced0a48ba25f, which represents a few Japanese composers for projects not in Japan. Again, present your credentials, and then see if you are able to have a dialogue with some Japanese composers.
>
>I agree with Avatar that besides interacting with the musician themselves, you should try playing games.
>
>As a clear difference in music direction, pick up the Japanese soundtrack of any Gran Turismo game (www.cdjapan.co.jp or gamemusic.com should have them) and then compare that with the U.S. soundtrack, which has licensed music. It'll give you some ideas as to how different people approach game music.

Trhank you very much. I know I'm treading on shakey ground. Gamers are very protective of their genre. I'm merely a bee in your hive.

>Trhank you very much. I know I'm treading on shakey ground. Gamers are very protective of their genre. I'm merely a bee in your hive.
>
>

Indeed, gamers are quite an obsessive and defensive bunch, as shown in the posts above you.

Stay on their good side, otherwise face the wrath of walls of text. tl;dr

Correct link to the contact form

Oops, I messed up the link. Try this.

Cocoebiz Contact Form

Game music, East & West

For game music, Japan is really the best place to go. The game culture in Japan is much more absorbed into the general culture, including game music, so they simply have more talent in the field there. Sure, there are talented Western game musicians, but for variety and the most gripping game music, Japan is where it's at. Getting a Japanese composer for a Western game would be no small feat, and with good co-ordination could lead to great results.

For Japan, some names:
Nobuo Uematsu, of course (Final Fantasy, nowadays freelance)
Yasunori Mitsuda (Procyon Studio)
Super Sweep Inc. (Shinji Hosoe, Ayako Sasoo, Sanodg et at)
Hideyuki Fukasawa (Chaos Legion, may be on Capcom's payroll though)
Koji Hayama (Japanese game music legend)
Yuzo Koshiro (likewise, though better known in the West too)

There's the language barrier though, so Western contacts might be safer.

Western names:
Jesper Kyd (very talented, works include Hitman series)
Jacob Kaufman (well-respected in the game music field, has composed for various games such as cult classic Shantae)
Bernd Sippel, Nils Wasko (Dragonfarm)
Tom Colvin (Sudeki)
Valtone (has also released a CD as Purple Motion)

You could also try to get artists that haven't done game music to do new music for a game. No chart-toppers, rather people who need to make a name. Also, no vocals. Normal vocalized music may sound fine on the radio to the common listeners, but they just don't work as game music. The new music would have to be instrumental or near instrumental. For example, when Prodigy's Firestarter was licensed to Wipeout, the vocals (singing, if you will) of the track were removed. It still didn't make a very good track though, because it wasn't composed as an instrumental from the beginning.

Licensing existing music to games isn't a very good idea as has been discussed. It usually doesn't fit the game at all, disrupts the mood and goes against the flow. That's why whenever you get somebody to do game music, you should get them to do new music especially for the game in question.

>For game music, Japan is really the best place to go.

The Japanese job market is notoriously xenophobic. I wouldn't wish for any American to attempt employment there - not even in video games, and regardless of how well they communicate in Japanese.