Career in Composition

Below is a list of discussion points regarding the development of a career in video game music composition.

 

A contact (and/or a reference) is not simply an acquaintance, it is someone with whom you have worked.

  • Client
  • Collaborator (e.g., another composer, a musician, a mixer, a fellow student, etc.)

 

When you have little professional experience, it is preferable to highlight your skills rather than your personal style.

  • Music + sound design + implementation
  • Stylistic versatility
  • Ability to work as part of a team
  • Ability to work under pressure
  • Resourcefulness and reliability

 

Focus on the next step while keeping your ideal goal in mind:

  1. Student projects
  2. Game jams
  3. Indie games
  4. AAA games

 

Professional development:

  • Approach collaborators who are at a similar level (e.g., the piano-shaped swimming pool analogy)
  • Showcase your experience
  • Offer help rather than ask for favors (win-win)
  • Types of approaches:
    • Don’t invest too much time in unsolicited “cold call” offers (e.g., the lawn-care flyer analogy)
    • Favor a personalized approach (e.g., the dating website analogy)

 

Maintain your network through networking events:

  • MIGS (volunteer to attend conferences for free)
  • GDC, San Francisco
  • IGDA conferences
  • Networking events of all kinds (e.g., industry happy hours)

 

Demo reel and website:

  • Start as a “Jack of all trades,” then evolve into a “master of one”
  • Clarity (project/music titles, information hierarchy, conciseness, etc.)

 

Work as an assistant:

  • Serve the composer (not the composer’s client)
  • Adapt to the composer’s workflow
  • Appreciate the time the composer invests in your learning
  • Be resourceful: when you do not know something, research it before asking the composer for help

 

Create and produce your own projects. For example, organize a film concert and program a film for which you composed the music.

 

A composer may occasionally invest their own money in a project that is important to them and/or likely to generate valuable opportunities. For example, by hiring musicians to improve the quality of the music rather than relying entirely on mock-ups.

 

Advantages of being an in-house composer (for a video game company or audio provider):

  • Projects are assigned directly to the composer (no need to pitch)
  • Equipment and workspace are provided by the company
  • Team environment (learning opportunities and technical support)
  • Stable salary
  • Employee benefits (insurance, paid vacation, etc.)

 

Advantages of being a freelance composer:

  • No non-compete clause (can work for any company)
  • Equipment and workspace belong to the composer
  • Freedom to choose your schedule and projects

 

Pitching:

  • Respect deadlines and each step of the process
  • Originality vs. mainstream appeal (e.g., 15% vs. 85%)
  • Professional production quality
  • Importance of building a good working relationship (to demonstrate what it would be like to work with you as the composer)

 

Agent:

  • An agent’s primary role is to negotiate contracts (not to find them)
  • Agents generally approach composers, not the other way around
  • Agents are mainly interested in composers who are likely to generate the most contracts
  • It is preferable to approach an agent when you already have a contract ready for them to negotiate
  • A good agent can become an excellent career advisor

 

Contracts:

  • Non-Disclosure Agreement (NDA)
  • Description of the services to be provided by the composer
  • Compensation: rate per minute of music or flat fee
  • Intellectual property:
    • Buyout and work-for-hire agreements
    • SOCAN performance royalties (“Writer’s Share” and “Publisher’s Share”)
  • Credit attribution
  • Soundtrack release and use of music for demos/promotional purposes
  • Appendix: list of music to be composed (including timing estimates)
  • Composition contract vs. music licensing agreement

 

Points to consider when negotiating:

  • You can only offer two of the following three options:
    • Low cost
    • High quality
    • Fast delivery
  • You may accept a project for various reasons:
    • Money
    • Demo reel material
    • Networking opportunities
    • Experience
    • Personal enjoyment

 

Other related careers worth considering alongside composition:

  • Sound designer
  • Audio tester
  • Mixer
  • Audio editor

In any musical context, maintain a professional attitude at all times:

  • At school
  • At a concert (both as an audience member and as a performer)
  • At a recording session
  • During project meetings
  • At networking events

To deepen your knowledge of the industry, consult the Industry Resources page.