Audio Track Wrap-Up

Contents

Audio Track Wrap-Up: The Basics Audio Wrap-Up: Other Highlights

One of the grander highlights, which even several days later is generating the kind of response and excitement that was intended, was the panel Game Music Soundtracks: Gateway to Profit, Publicity and Grammy Potential hosted by Leslie Ann Jones, Chance Thomas and Tommy Tallarico. This discussion focused on game music soundtracks, the importance of their release and other ways for musicians and composers to see additional income for their work. There were suggestions how we could ensure this becomes a standard practice in the industry and nearly everyone agreed that it should. Since we are blazing into new ground here, the importance and need of more discussions like this is evident.

The American Society of Composter, Authors, and Publishers

I talked with Greg Rahn this week, after he had some time to think about other angles where game music could make money for the composer. "As the branding of the products we compose music for continues to grow, so will the TV advertising for those products. If our game compositions are also used in the ads, there can be some revenue due to us for that use. Multimedia companies are typically unaware of this since they haven't yet had to deal with it. Game music composers need to be aware of this so they can stipulate ancillary rights up front in their contracts, and register their music so ASCAP and BMI can collect in the event it is used in an ad. This is something I am looking into now as music I recently composed for a Nickelodeon product ended up being used in a national spot. It had a very short run so could easily be missed by BMI or ASCAP, but I know of one composer who was able to point ASCAP to a use of his music they had missed and subsequently collect royalties. At this point I am unclear as to whether a composer who has signed away the rights to his music in a buy out or staff contract can still get writers royalties, but I am checking into it." Greg has some great ideas here and promised to stay in touch with more.

The potential of winning a Grammy Award for a game soundtrack is accessible and we are championing our cause to make sure it happens. Anyone who read my recent Gamasutra article, "Working the Grammy Angle" knows how I feel about this. Leslie Ann Jones was there as a representative of the National Academy of Recording Arts and Sciences (NARAS), passing out membership applications and encouraging us to join. Unfortunately, by a show of hands, about half of the audience considered themselves eligible to join but only a handful had actually done so. Others discussed concern about how we could increase members from our industry and the eventuality of actually winning a Grammy. I suggested to some afterwards it was time to have "guest" musicians play on game soundtrack releases so we could also get our 6 tracks and increase the number of the "voting" membership in a hurry. An idea that sounds wacky but might just work. I'm definitely game.

I also later asked Chance Thomas for some of his thoughts on the show. Not only were the events above already listed high on his list, he was particularly impressed with some Game Design issues. "I attended a roundtable on level design in the Game Design track. Part of the discussion revolved around the importance of using music and sound to solve a primary challenge designer's face, that no game is entirely non-linear. The game designer always wants to direct the player into certain paths and decisions in order to maximize the "game-play" value of the experience. With that in mind several designers discussed the importance of using music and sound to direct, entice, warn, and manipulate the emotions of the player in harmony with the designer's Design. Various technologies, methodologies, and even production values are available to the designer to service this goal. I came away with a more acute understanding of how critical it is for composers and sound designers to get inside the game or level designer's head in order to use our craft in the better service of their vision."

On a final lecture note, turns out Mark Snow, composer for the X-Files, Millenium, etc., was a no show again this year. Curious faces peered up at film composer Marco Beltrami, who took Mark's time slot at the podium. Those that hadn't gotten the word about the switch didn't seem too disappointed though, Marco giving an informative "show and tell" with plenty of his 'reel' world examples. Robust applause erupted spontaneously several times.

The Fatman, on another wild marketing adventure, was seen giving away visits to his Texas studio complex, 'Abbey Trails', by hiding 'golden' tickets inside candy bars. Winners will have the opportunity to see where it all happens, stay with his family and be apart of the commotion in central Texas. George was also gearing up for BBQ 2000 (in October), another awe-inspiring get together and workgroup to focus on the future of game audio and perhaps solve another pesky sound problem or two. He was excited about the past BBQ's and guarantees this one will also be grand.

Marty O'Donnell enjoyed reminding us why we do what we do in the first place as he was seen almost in several places at once. "I spoke to composers about remembering their first love. What was it that drew them into writing music in the first place? Regardless of how far down the technological road we've all traveled, don't forget or leave behind those things about music that you used to get excited about. Many composers responded with some great and diverse stories about their own backgrounds and interests, and how they sometimes have gotten mired in techno-problems that have prevented them from continuing to create the music they love." We have at one time or another all lost sight of what we are doing and focus too much on 'how' we are doing it instead. I agree with Marty and am glad he has reminded us of that fact.

Winner of the IGF Best Audio Award

Congratulations are in order to the folks at StationBlix.com for taking home the Best Audio Award at this years Independent Games Festival. Their game, BLIX, was quite fun and the audio was right on. However, my eyes and ears kept leaning towards the submission less than an arms length away, Silver Creek Entertainment's, Hardwood Hearts. This beautifully done multi-player card game had me captivated with its' subtle sound effects and engaging musical compositions. Did I happen to mention I had done some audio work on that project? Have I no shame?

Many game music and sound design personalities were seen drifting the halls of the convention center, bags of prizes in hand, always on the lookout for familiar faces. Several reunions of sorts were observed. It's always nice to be in the company of our peers who, over time, seemed to have spread out across the country. It was also quite humorous watching everyone looking down at the nametags hanging around their bellybuttons, trying to put names to faces. Maybe next year we could put them on our foreheads instead.

All in all, everyone seemed to agree this years Game Developers Conference was a pretty good show, well worth the price of admission. As the sun arced towards the western horizon, I fired up my mighty steed for the journey home. With a mischievous wink, I popped in Tommy Tallarico's newly released Tomorrow Never Dies game soundtrack CD and headed out into the darkness looking forward to doing it all again next year. A fitting ending to an all video gaming weekend. Hope to see you there next time.

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