While Suno is generating 7 million songs per day, some of us are still crafting music the old way, composing it by hand and recording it with the best musicians to create unique soundtracks one at a time. No AI slop EVER

Hectic week post-GDC with lots of things in preparation. Can't wait to talk to you all about it 🚀

Hot take: I never understood all the praise for the original Alien soundtrack. I appreciate the musicianship, but in the end I don't know why I'm listening to a symphonic orchestra on a cyberpunk spacecraft. It doesn't seem like the most immersive thing for that set up

Had an amazing week full of meaningful connections and exceptional human beings at #GDC2026 Thank you all for your warm welcome to a first timer here, specially to the awesome audio community and to Audiokinetic Looking forward to talking with you all about what's been going on 🚀

Day 2 at GDC 2026!

100% human music, handcrafted to an insane level of detail

POV: you try to game but your controller has main character energy 🔈🔉🔊

The 2010s were the pinnacle of virtual orchestral game music. Seen from today: uncanny valley feeling everywhere. We're in a much better place now

The 7th guest was the first video-game soundtrack that got me completely hooked when I was 11. It was ahead of its time youtu.be/__nljZezcbg?...

As many of your already know, I'll be at GDC this year. It will be my first time and I'll be looking forward to meet and discuss about game music, the Universe and Everything 🚀

Hybrid music. Hybrid music all the way

If you aim for the best, good music is not enough. In games we need good music that enhances the gameplay. It has to work both ways

When the composer integrates and tests music in the game engine the "breaking immersion" problem disappears. It becomes much clearer how the music can help the game

Your job is to carve a piece of wood to make an sculpture. You could carve it entirely by hand with different tools, or you could use some machines to help you achieve the results you envision.

Game music really isn't like movie music. Being interactive means that the player isn't just following a character. It is the character. And the music has the power to make this agency feel powerful and personal for every single player

I love scoring narrative games where you have to balance how much the music serves the gameplay versus how much it follows the story. That tension often leads to the most absurd ideas, which surprisingly turn out to be the ones that work best

Not a huge fan of sample libraries myself, but praying for NI to keep providind support for all people in the industry that still uses Kontakt on a daily basis cdm.link/ni-insolvency/

Very creative blend of acoustic and electronic instrument. Did anyone try it first hand? www.korg.com/us/products/...

Low poly, pixel art, realistic, cell shading, hand drawn. Each one is a goldmine for musical ideas. Translate the aesthetic, not the genre, and you'll be set up to create something unique.

Wwise should give composers and audio designers the possibility to map the sounds to a game controller to see how it plays without needing access to the game engine. So much of what we do in music for games depends on how it feels with the controller in your hands. #vgm #composer #gameaudio

Composers, let your music be not only good, but also something that ressembles you. The games industry needs original and fresh voices, new ideas. Find the thing that only you can do best

10000 hours. That's the amount of time that takes to get good at making music. Those thinking you can bypass that effort are being fooled by some illusion of competence. It's simply not how it works.

Creative work is not about exporting, about presets or about adding a mono track. It is and will always be about finding and developing great ideas. Making templates for everything will help you to spend your time where it really matters.

Clair Obscur : Expedition 33 de Sandfall Interactive est sacré Jeu de l'Année (GOTY) et remporte 9 récompenses au total aux #GameAwards2025 ! Une victoire historique pour l'industrie tricolore. Voici les talents que nous célébrons 🧵👇 #GameAudioFrance #GOTY #FrenchDev

My workflow: Pencil for drafting 👇 Composition and arrangement on Cubase 👇 Mixing on REAPER

Woodwinds + 2 Harps + string harmonics + low end horn + Debussy is a treasure trove for beautiful orchestral textures

Towards the end you shouldn't be using any sound straight from your template. Not because they are bad, but because you found better

Finding the right palette, creating themes, actually composing the music, making and polishing the arrangements, mixing and mastering. All those things need to be taken care sequentially. At the end of the day, rushing means that awesome music will be less awesome

Letting go a project is the hardest part. Every time it feels like leaving an awesome place where there is so much left to do

Your DAW is not a score, it's a virtual canvas to paint with sounds. We composers are like Renaissance oil painters, building layer over layer to create texture, volume and detail

Only testing your music in-game gives you the full picture of whether your music is working or not. Totally different experience from listening it in your DAW

No matter what they say, a well-produced texture isn't enough by any means. Melodies and themes are the only real superpower of music. It's what makes us connect emotionally with it.

Everyone has flaws, but if you love Bloodborne then we can be friends for sure

10 Things a game composer can do but AI can't: 1. Yell at the computer because stems take too long to export 2. Work with musicians that will pour their very soul into the music

The little KM184s are just so good at capturing every nuance of what musicians are playing. Genuinely amazing gear.

It is indescribably sad that, if you exploit “essentially all music files of reasonable quality that are accessible on the open Internet” without paying the musicians behind them - and create a model that can compete with those musicians - this is how you are rewarded

Once you start recording live musicians there is no coming back. Music becomes so much richer and human you have to rethink your pipeline.

There is lots of things you can learn by reading. But music is not one of them. You can't learn to make music by reading books in the same way you can't learn to have sex by reading books

Live bagpipes and violin really set the vibes on this one. Soon on Roots of Tomorrow DLC #gameaudio #composer #indiedev #gamedev

It's not about the money. It never was. It's about matching creative energies. Once you get that, the rest will follow.

Work until there is nothing else to add, then keep going until there is nothing else to remove

New music for Roots of Tomorrow coming soon. First time recording live bagpipes 👌

Cubase 15 is here, but the star feature for me keeps being Cubase 14 refurbished score editor. It's awesome to have a clean view both on MIDI and Score mode

If you have a good idea with some edge, you can smooth the edge. It still can be interesting. Polished. However you can't add some edge to a boring idea. It doesn't work both ways.

Looking for some broken bones to make a bone flute, preferably human. Let me know! 🎃🎃🎃

Each game is a new adventure full of infinite sonic possibilities. From quiet emotions to epic stories, grateful for every opportunity to make a beautiful mess of sounds

Having ideas is the easy part. Anyone can have them. To shape a good idea into something that breathes and shines, that's the difficult part.

Pen and paper. Fishing for ideas. Nothing better to focus on the building blocks of your music

People once said MIDI would replace musicians and make everyone a composer. It didn’t. Musicians still matter, and composition still takes skill. The same will happen with AI.

If you're spending a lot of time in your arrangement then your idea wasn't that good. The best ideas make things easier