{"id":38046,"date":"2022-02-09T17:50:14","date_gmt":"2022-02-09T16:50:14","guid":{"rendered":"https:\/\/eumes.cat\/video-game-music-how-to-create-soundtracks-that-leave-a-lasting-impression\/"},"modified":"2026-10-09T09:10:24","modified_gmt":"2026-10-09T07:10:24","slug":"video-game-music","status":"publish","type":"post","link":"https:\/\/eumes.cat\/en\/video-game-music\/","title":{"rendered":"Video game music: how to create soundtracks that leave a lasting impression"},"content":{"rendered":"

If you had to choose between music or video games\u2026 which would you pick? If you are one of those people for whom this dilemma would break their heart, this article is tailor-made for you. The fact is that video game music<\/strong> is not just background soundtrack: it is a fundamental pillar of the gaming experience. That is why, in collaboration with Sounds Market<\/a>, we give you the essential tips for composing a video game soundtrack.\t\t\t<\/p>\n

Master music theory and production<\/h2>\n

\t\tTo create a good soundtrack, you must build a sonic world capable of conveying an endless range of emotions. This means having a solid knowledge of both composition<\/strong> and music production<\/strong>.<\/p>\n

Being self-taught is a good starting point, but if you want authentic professional knowledge, the best option is to train at a specialised school. Having active professionals who guide you and pass on their real experience is what makes the difference between an amateur and someone the industry will want to hire.\t\t\t<\/p>\n

Interactive audio: the key to the industry<\/h2>\n

Unlike cinema, video games are interactive and non-linear experiences. This means that video game music<\/strong> must react to the player’s actions in real time. To design a soundtrack that adapts to this environment, you must understand the game’s mechanics and systemic narrative.<\/p>\n

The goal is for the music to integrate as smoothly and responsively as possible. To achieve this, it is essential to master middleware software such as Wwise (Audiokinetic)<\/a> or FMOD<\/a>, the most used interactive audio tools in AAA and indie production.<\/p>\n

Record your ideas and fight writer’s block<\/h2>\n

Writer’s block is very common when composing, whether due to a lack of ideas or the pressure you put on yourself waiting for the “perfect idea”.<\/p>\n

The best way to overcome it is to get into the habit of noting and recording any small melody or texture that comes to mind, however simple it may seem. Creating your own resource bank will save you during moments of creative drought and will allow you to connect ideas that would otherwise have been lost.<\/p>\n

Identify the narrative keys<\/h2>\n

Music is an emotional language that adds an additional layer of meaning to what is seen on screen. To achieve a good degree of immersion, it is key to work on three elements:<\/p>\n

    \n
  1. Characters<\/strong>: what are their personalities? What emotions do they convey?<\/li>\n
  2. Environments<\/strong>: what atmosphere do you want to convey in each area?<\/li>\n
  3. The “energies”<\/strong>: each section of the game needs a different pace and sonic tension.<\/li>\n<\/ol>\n

    Create your own rules (and stick to them)<\/h2>\n

    To create powerful sonic identities, study the masters. Take a look at how composers such as Hans Zimmer<\/strong> and John Williams<\/strong> work, and at leading figures in the video game music industry such as Koji Kondo<\/strong> (Mario), Nobuo Uematsu<\/strong> (Final Fantasy), Mick Gordon<\/strong> (Doom) and Lena Raine<\/strong> (Celeste).<\/p>\n

    Establishing your own rules brings coherence to the project:<\/p>\n